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Title: English and Scottish Popular Ballads, Volume 5 (of 5)
Author: Francis James Child, - To be updated
Language: English
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*** Start of this LibraryBlog Digital Book "English and Scottish Popular Ballads, Volume 5 (of 5)" ***
BALLADS, VOLUME 5 (OF 5) ***
THE ENGLISH AND SCOTTISH
POPULAR BALLADS
THE
ENGLISH AND SCOTTISH
POPULAR BALLADS
EDITED BY
FRANCIS JAMES CHILD
IN FIVE VOLUMES
VOLUME V
NEW YORK
DOVER PUBLICATIONS, INC.
This Dover edition, first published in 1965, is an unabridged and
unaltered republication of the work originally published by Houghton,
Mifflin and Company, as follows:
Vol. I--Part I, 1882; Part II, 1884
Vol. II--Part III, 1885; Part IV, 1886
Vol. III--Part V, 1888; Part VI, 1889
Vol. IV--Part VII, 1890; Part VIII, 1892
Vol. V--Part IX, 1894; Part X, 1898.
This edition also contains as an appendix to Part X an essay by Walter
Morris Hart entitled “Professor Child and the Ballad,” reprinted _in
toto_ from Vol. XXI, No. 4, 1906 [New Series Vol. XIV, No. 4] of the
_Publications of the Modern Language Association of America_.
_Library of Congress Catalog Card Number: 65-24347_
Manufactured in the United States of America
Dover Publications, Inc.
180 Varick Street
New York, N.Y. 10014
ADVERTISEMENT TO PART IX
NUMBERS 266-305
The delay of the publication of this Ninth Part of the English and
Scottish Ballads has been occasioned partly by disturbances of health,
but principally by the necessity of waiting for texts. It was notorious
that there was a considerable number of ballads among the papers of
Charles Kirkpatrick Sharpe, and it was an important object to get
possession of these, the only one of the older collections (with a
slight exception) which I had not had in my hands. An unexpected
opportunity occurred upon the sale of Sharpe’s manuscripts last year.
All the ballads, including, besides loose sheets, several sets of
pieces, were secured by Mr Macmath, and turned over to me (mostly in
transcripts made by his own hand) with that entire devotion to the
interests of this undertaking which I have had so frequent occasion
to signalize. A particularly valuable acquisition was the “old lady’s
complete set of ballads,” mentioned by Scott in his correspondence with
Sharpe, which was the original of most of the pieces in the Skene MS.
This Ninth Part completes the collection of English and Scottish
ballads to the extent of my knowledge of sources, saving that William
Tytler’s Brown-MS. has not been recovered. Copies, from Mrs Brown’s
recitation, of all the pieces in this MS. are, however, elsewhere to be
found, excepting in a single instance, and that of a ballad which is
probably a variety of one or another here given in several forms (No 99
or No 158).
I have to thank Mr Macmath once more for his energetic and untiring
co-operation; the Rev. William Findlay, of Sabine, for permission to
make use of his ballad-gatherings; the Rev. S. Baring-Gould, Mr P.
Z. Round, Mr William Walker, and Mr R. Brinley Johnson, for texts;
Professor Wollner, of Leipzig, for the most liberal assistance in
Slavic matters; Mr Kaarle Krohn, of the University of Helsingfors, for
a minute and comprehensive study of the Esthonian and Finnish forms of
No 95; Dr Axel Olrik for Scandinavian texts and information relating
thereto; Professor Kittredge for notes; and Mr R. B. Armstrong, of
Edinburgh, Dr Åke W:son Munthe, of Upsala, Miss M. H. Mason, of London,
Mr Alfred Rogers, of the Library of the University of Cambridge, Mr H.
L. Koopman, late of Harvard College, and Mrs Maria Ellery MacKaye, for
kind help of various descriptions.
It is intended that Part X (completing the work) shall contain a list
of sources, a full and careful glossary, an index of titles and matters
and other indexes, and a general preface.
F. J. C.
April, 1894.
ADVERTISEMENT TO PART X
For texts, information, or correction of errors, I have the pleasure
of expressing my indebtedness to the following gentlemen in Europe:
Mr Andrew Lang; Mr J. K. Hudson of Manchester; Professor J. Estlin
Carpenter of Oxford; Messrs W. Macmath and David MacRitchie of
Edinburgh; Mr W. Walker of Aberdeen; Dr Axel Olrik of Copenhagen;
and in America to the following ladies and gentlemen: Miss Mary
C. Burleigh of Massachusetts; Miss Louise Porter Haskell of South
Carolina; Professor Kittredge, Dr W. H. Schofield, Dr W. P. Few and
Mr E. E. Griffith of Harvard College; Professor W. U. Richardson of
the Harvard Medical School; Dr F. A. Morrison of Indiana, and Mr W. W.
Newell, editor of the Journal of American Folk-Lore. The services of Mr
Leo Wiener of Harvard College have been at my full command in Slavic
matters, and had time been at my disposal would have been employed for
a much wider examination of the very numerous collections of Slavic
popular songs. Mr G. F. Arnold, late of Harvard College Library,
obligingly undertook the general bibliographical index at the end of
this volume; but the labor proving too great for his delicate health,
this index was completed by my friend Miss Catharine Innes Ireland, who
besides has generously devoted a great deal of time to the compilation
or correction of all the other indexes and the preparation of them
for the press. Still further favors are acknowledged elsewhere. In
conclusion I would recognize with thanks and admiration the patience,
liberality and consideration shown me by my publishers from beginning
to end.
F. J. C.
[The manuscript of this Tenth and final Part of the English and
Scottish Ballads (including the Advertisement), was left by Professor
Child substantially complete, with the exception of the Bibliography,
and nearly ready for the press. The Bibliography, which Miss Ireland
had in hand at the time of Professor Child’s death, has been completed
by her, with some assistance. In accordance with Professor Child’s
desire, and at the request of his family, I have seen the present
Part through the press. My own notes, except in the Indexes and
Bibliography, are enclosed within brackets, and have been confined, in
the main, to entries in the Additions and Corrections. Acknowledgments
are due to Mr Macmath, Professor Lanman, and Dr F. N. Robinson for
Various contributions, and to Mr W. R. Spalding for Reading the
Proof-sheets of the Music. Mr Leo Wiener, Instructor in Slavic
Languages in Harvard University, has had the great kindness to revise
the Slavic titles in the List of Ballads, the List of Collections
of Ballads, and the Bibliography. To Miss Ireland I am especially
indebted for material assistance of various kinds, especially in the
proofreading.
G. L. K.]
January, 1898.
CONTENTS OF VOLUME V
BALLAD PAGE
266. John Thomson and the Turk 1
(Additions and Corrections: V, 279.)
267. The Heir of Linne 11
268. The Twa Knights 21
269. Lady Diamond 29
(Additions and Corrections: V, 303.)
270. The Earl of Mar’s Daughter 38
271. The Lord of Lorn and the False Steward 42
(Additions and Corrections: V, 280.)
272. The Suffolk Miracle 58
(Additions and Corrections: V, 303.)
273. King Edward the Fourth and a Tanner of Tamworth 67
(Additions and Corrections: V, 303.)
274. Our Goodman 88
(Additions and Corrections: V, 281, 303.)
275. Get up and bar the Door 96
(Additions and Corrections: V, 281, 304.)
276. The Friar in the Well 100
277. The Wife Wrapt in Wether’s Skin 104
(Additions and Corrections: V, 304.)
278. The Farmer’s Curst Wife 107
(Additions and Corrections: V, 305.)
279. The Jolly Beggar 109
280. The Beggar-Laddie 116
(Additions and Corrections: V, 305.)
281. The Keach i the Creel 121
282. Jock the Leg and the Merry Merchant 126
283. The Crafty Farmer 128
284. John Dory 131
285. The George Aloe and the Sweepstake 133
286. The Sweet Trinity (The Golden Vanity) 135
(Additions and Corrections: V, 305.)
287. Captain Ward and the Rainbow 143
(Additions and Corrections: V, 305.)
288. The Young Earl of Essex’s Victory over the Emperor of Germany 145
289. The Mermaid 148
290. The Wylie Wife of the Hie Toun Hie 153
291. Child Owlet 156
(Additions and Corrections: V, 305.)
292. The West-Country Damosel’s Complaint 157
293. John of Hazelgreen 159
294. Dugall Quin 165
(Additions and Corrections: V, 305.)
295. The Brown Girl 166
296. Walter Lesly 168
297. Earl Rothes 170
298. Young Peggy 171
299. Trooper and Maid 172
(Additions and Corrections: V, 306.)
300. Blancheflour and Jellyflorice 175
301. The Queen of Scotland 176
302. Young Bearwell 178
303. The Holy Nunnery 179
304. Young Ronald 181
305. The Outlaw Murray 185
(Additions and Corrections: V, 307.)
Fragments 201
(Additions and Corrections: V, 307.)
Additions and Corrections 205
Additions and Corrections 283
Glossary 309
Sources of the Texts 397
Index of Published Airs 405
Ballad Airs from Manuscript:
3. The Fause Knight upon the Road 411
9. The Fair Flower of Northumberland 411
10. The Twa Sisters 411
11. The Cruel Brother 412
12. Lord Randal 412
17. Hind Horn 413
20. The Cruel Mother 413
40. The Queen of Elfan’s Nourice 413
42. Clerk Colvill 414
46. Captain Wedderburn’s Courtship 414
47. Proud Lady Margaret 414
53. Young Beichan 415
58. Sir Patrick Spens 415
61. Sir Colin 415
63. Child Waters 415
68. Young Hunting 416
75. Lord Lovel 416
77. Sweet William’s Ghost 416
84. Bonny Barbara Allan 416
89. Fause Foodrage 416
95. The Maid freed from the Gallows 417
97. Brown Robin 417
98. Brown Adam 417
99. Johnie Scot 418
100. Willie o Winsbury 418
106. The Famous Flower of Serving-Men 418
144. Johnie Cock 419
157. Gude Wallace 419
161. The Battle of Otterburn 419
163. The Battle of Harlaw 419
164. King Henry Fifth’s Conquest of France 420
169. Johnie Armstrong 420
173. Mary Hamilton 421
182. The Laird o Logie 421
222. Bonny Baby Livingston 421
226. Lizie Lindsay 421
228. Glasgow Peggie 422
235. The Earl of Aboyne 422
247. Lady Elspat 422
250. Andrew Bartin 423
256. Alison and Willie 423
258. Broughty Wa’s 423
278. The Farmer’s Curst Wife 423
281. The Keach i the Creel 424
286. The Sweet Trinity 424
299. Trooper and Maid 424
Index of Ballad Titles 425
Titles of Collections of Ballads, or Books containing Ballads,
which are very briefly cited in this work 455
Index of Matters and Literature 469
Bibliography 503
Corrections to be made in the Print 567
Appendix: Professor Child and the Ballad 571
266
JOHN THOMSON AND THE TURK
=A.= ‘John Thomson and the Turk,’ Buchan’s Ballads of the North of
Scotland, II, 159; Motherwell’s Minstrelsy, Appendix, p. ix. ‘John
Tamson,’ Motherwell’s MS., p. 615.
=B.= Leyden’s Glossary to The Complaynt of Scotland, p. 371, four
stanzas.
* * * * *
Leyden (1801) says that he had “heard the whole song when very
young.”[1] Motherwell’s copy was probably given him by Buchan.
John Thomson has been fighting against the Turks for more than three
years, when he is surprised by receiving a visit from his wife, who
walks up to him in a rich dress, as if Scotland were just round the
corner. The lady stays several days, and then gives her husband to
understand that she is going home. He recommends her to take a road
across the lea, for by doing this she will escape wild Hind Soldan and
base Violentrie. It is not so much an object with the lady to avoid
these Turks as John Thomson supposes. The Soldan, it turns out, has
been slain; but she goes straight to Violentrie. After a twelvemonth
John Thomson sends a letter to Scotland, “to see about his gay lady.”
An answer is returned that her friends have not laid eyes on her in
all that time. John Thomson disguises himself as a palmer and hies to
Violentrie’s castle, where he finds his lady established. Learning that
the palmer has come from the Scots’ army in Greece, she asks whether
one of the chieftains has seen his wife lately, and is told that it is
long since the knight in question parted with his wife, and that he has
some fear lest the lady should have been captured by his foes. The lady
declares that she is where she is by her own will, and means to stay.
The palmer throws off his disguise, begs to be hidden from Violentrie,
and is put down in a dark cellar. Violentrie soon arrives and calls for
his dinner, casually remarking that he would give ten thousand sequins
for a sight of the Scot who has so often put him to flight. The lady
takes him at his word, and calls up John Thomson. The Turk demands what
he would do if their positions were exchanged. “Hang you up,” the Scot
replies, with spirit, “and make you wale your tree.” Violentrie takes
his captive to the wood. John Thomson climbs tree after tree, ties a
ribbon to every branch, and puts up a flag as a sign to his men: all
which the Turk thinks no harm. Then John Thomson blows his horn. Three
thousand men come tripping over the hill and demand their chief. The
Turk begs for mercy, and gets such as he would have given: they burn
him in his castle, and hang the lady.
This ridiculous ballad is a seedling from an ancient and very notable
story, which has an extensive literature, and has of late been
subjected to learned and acute investigation.[2] It may be assumed with
confidence that the story was originally one of King Solomon and his
queen, of whom it is related in Russian, Servian, and German. In the
course of transmission, as ever has been the wont, names were changed,
and also some subordinate circumstances; in Portuguese, Solomon is
replaced by Ramiro II, king of Leon; in a French romance by the Bastard
of Bouillon. It is, however, certain that the Solomon story was well
known to the French, and as early as the twelfth century.[3] Something
of the same story, again, is found in König Rother and in the Cligès of
Crestien de Troies, both works of the twelfth century, and in various
other poems and tales.
The tale of the rape of Solomon’s wife and of the revenge taken by
Solomon is extant in Russian in three _byliny_ (or, we may say,
ballads), taken down from recitation in this century, and in three
prose versions preserved in MSS of the sixteenth, seventeenth, and
eighteenth centuries. The _byliny_[4] relate that Tsar Vasily of
Constantinople (or Novgorod), while feasting with his nobles, demands
of them to find him a wife who shall be his fair match in stature,
beauty, wit, and birth. One of the company undertakes to get for his
master Salamanija (Salomonida), the beautiful wife of Salomon, Tsar
of Jerusalem (or of Constantinople), and effects the business by
enticing her on board of a ship to see fine things, an artifice of
frequent occurrence in ballads. Salomon sets out to retrieve his wife,
attended by a large army (which he conceals in a grove), presents
himself at Vasily’s palace as a pilgrim (or other humble personage), is
recognized by his wife, and shut up in a box. When Vasily comes back
from hunting, Salamanija tells him what has chanced, and advises the
instant execution of Salomon, which is resolved on. Salomon is to be
beheaded, but he begs that he may be hanged, and that three nooses, of
rope, bast, and silk, may be provided. Under the gallows Salomon asks
to be allowed to sound his horn. Salamanija objects, but is overruled.
He blows thrice; his army comes at the third sounding. Vasily is hanged
in the silken noose, Salamanija in the rope, and the man that carried
her off in the bast.
One of the prose tales narrates these transactions as follows. The
wife of Solomon, king of Jerusalem, is stolen from him by his brother
Kitovras, through the agency of a magician, who, in the character of a
merchant, excites Solomon’s admiration for a magnificent purple robe.
Solomon buys the robe, and invites the seeming merchant to his table.
During the repast the magician envelops the king and his people in
darkness, brings a heavy slumber upon the queen and her people, and
carries her off in his arms to his ship. Solomon, learning that his
wife is in the possession of Kitovras, proceeds against him with an
army, which he orders to come to his help when they shall hear his
horn sound the third time. Clad as an old pilgrim or beggar, he enters
Kitovras’s garden, where he comes upon a girl with a gold cup, who is
about to draw water. He asks to drink from the king’s cup. The girl
objects, for, if reported to the king, such a thing would be the death
of both of them; but the gift of a gold ring induces her to consent.
The queen sees the ring on the girl’s hand, and asks who gave it to
her. An old pilgrim, she replies. No pilgrim, says the queen, but my
husband, Solomon. Solomon is brought before the queen, and asked what
he has come for. To take off your head, he answers. To your own death,
rejoins the queen; you shall be hanged. Kitovras is sent for, and
pronounces this doom. Solomon reminds Kitovras that they are brothers,
and asks that he may die in regal style; that Kitovras and the queen
shall attend the execution, with all the people of the city; and that
there shall be ample provision of food and drink: all which is granted.
At the gallows he finds a noose of bast; he begs that two other nooses
may be provided, one of red silk, one of yellow, so that he may
have a choice, and this whim is complied with. Always urging their
brotherhood, Solomon, at three successive stages, asks the privilege
of blowing his horn. The army is at hand upon the third blast, and is
ordered to kill everybody. Kitovras and the queen are hanged in the
silken nooses, the magician in the bast.[5]
The variations of the other versions are mostly not material to our
purpose. In one, King Por takes the place of Kitovras; in the third,
the king of Cyprus. In the latter, Solomon asks to be hanged upon a
tree, a great oak. The king of Cyprus begs for a gentle death, and his
veins are opened. The queen is dismembered by horses.
A Servian popular tale runs thus. Solomon’s wife fell in love with
another king, and not being able to escape to him on account of the
strict watch which was kept over her, made an arrangement with him
that he should send her a drink which should make her seem to be dead.
Solomon, to test the reality of her death, cut off her little finger,
and seeing no sign of feeling, had her buried. The other king sent his
people to dig her up, restored animation, and took her to wife. When
Solomon found out what had been done, he set out for the king’s palace
with a body of armed men, whom he left in a wood, under orders to
hasten to his relief when they heard the blast of a trumpet, each man
with a green bough in his hand. The king was out a-hunting, the queen
at home. She wiled Solomon into a chamber and locked him up, and when
the king came back from the chase told him to go into the room and cut
Solomon down, but to enter into no talk, since in that case he would
certainly be outwitted. Solomon laughed at the king and his sword:
that was not the way for a king to dispose of a king. He should take
him to a field outside the city, and let a trumpet sound thrice, so
that everybody that wished might witness the spectacle; then he would
find that the very greenwood would come to see one king put another
to death. The king was curious to know whether the wood would come,
and adopted Solomon’s suggestion. At the first sound of the trumpet,
Solomon’s men set forward; at the second they were near at hand, but
could not be distinguished because of the green boughs which they
bore.[6] The king, convinced that the wood was coming, ordered a third
blast. Solomon was rescued; the king and his court were put to the
sword.[7]
A Little Russian story of Solomon and his wife is given by Dragomanof,
Popular Traditions and Tales, 1876, p. 103, translated in Revue des
Traditions Populaires, II, 518, by E. Hins. Solomon takes a wife from
the family of a heathen tsar. She hates him, and concerts an elopement
with a heathen tsarevitch. She pretends to be dead. Solomon burns her
hands through and through with a red-hot iron. She utters no sound, is
buried in the evening, and immediately disinterred and carried off by
her paramour. Solomon goes to the tsarevitch’s house, attended by three
armies, a black, a white, and a red (which are, of course, kept out of
sight), and furnished with three pipes. The tsarevitch has a gallows
set up, and Solomon is taken out to be hanged. He obtains liberty first
to play on his pipes. The sound of the first brings the white army,
that of the second the red, that of the third the black. The tsarevitch
is hanged, the tsaritsa dragged at a horse’s tail.
A like story is narrated in German in a passage of about two hundred
and fifty verses, which is appended to the Wit-Combat, or Dialogue, of
Solomon and Morolf; and again, with much interpolation and repetition,
in a later strophic poem of more than four thousand lines. Both pieces
are extant in manuscripts and print of the fifteenth century, but their
original is considerably earlier.
In the briefer and earlier of the two German versions, Solomon’s wife
has bestowed her love on a nameless heathen king, and wishes to escape
to him, but cannot bring this about. She feigns to be sick, and the
heathen (with whom she has been in correspondence) sends two minstrels
to her, who pretend to be able to cure sick folk with their music. They
obtain admission to the queen, give her an herb which throws her into
a death-like sleep, and carry her off to their master. Morolf, at King
Solomon’s entreaty, sets forth to find the queen, and, after traversing
many strange lands, succeeds. Solomon, under his guidance and advice,
and properly supported by an armed force, goes to the castle where the
queen is living; leaves his men in an adjoining wood, under command to
come to him when they hear his horn blow; and, disguised as a pilgrim,
begs food at the castle. His wife knows him the moment she lays eyes on
him, and tells the heathen that it is Solomon. The heathen, overjoyed,
says to Solomon, If I were in your hands, what should be my death?
Would God it were so! answers the king. I would take you to the biggest
wood, let you choose your tree, and hang you. So shall it be, says the
heathen, calls his people, takes Solomon to the wood, and bids him
choose his tree. I shall not be long about that, says Solomon; but,
seeing that I am of kingly strain, grant me, as a boon, to blow my horn
three times. The queen objects; the heathen says, Blow away. At the
third blast Morolf arrives with Solomon’s men. The heathen and all his
people are slain; the queen is taken back to Jewry, and put to death by
opening her veins in a bath.[8]
The longer poem has several additional incidents which recur in our
ballad, and others which link it with other forms of the story. Salme,
Solomon’s wife, is daughter of an Indian king (Cyprian, cf. the third
Russian prose tale), and has been stolen from her father by Solomon.
Fore, a heathen king, in turn steals Salme from the king of Jerusalem.
Morolf is not the sharp-witted boor of the other piece, but Solomon’s
brother. When Solomon goes to Fore’s castle, he is kindly received by
that king’s sister, and she remains his fast friend throughout. He
tells her that he is a sinful man, upon whom has been imposed a penance
of perpetual pilgrimage. Brought before the queen, Solomon tries to
make Salme come back to him. She lets him know that she loves Fore
three times as well as him, and to Fore will she stick. Solomon is put
into some side room. Fore comes home and sits down to table with Salme,
and she informs him that Solomon is in his power. The army consists of
three divisions, a black, a white, and a wan (bleich), nearly as in the
Little Russian tale. The reason which Solomon alleges for wishing to
blow his horn is to give notice to St Michael and the angels to come
and take his soul in charge. Fore is hanged. Salme is disposed of as
before, but not until after she has eloped with another king. Solomon
marries Fore’s sister after Salme’s death.[9]
The adventure of Solomon will be recognized in what is recounted in
Portuguese genealogies of the fourteenth century concerning King
Ramiro Second of Leon († 950).[10] King Ramiro, smitten with passion
for a beautiful Moorish lady, got himself invited to the castle of her
brother Alboazar, at Gaya, and plumply asked for her. He would make
her a Christian and marry her. Alboazar replied that Ramiro had a wife
and children already. Ramiro could not deny this, but his queen was,
it seems, conveniently near of kin to him, and Holy Church would allow
a separation. The Moor swore that he never would give his sister to
Ramiro. Ramiro, under cover of a darkness produced by an astrologer
in his service, carried her off to Leon and had her baptized with the
name Artiga. Alboazar, in revenge, availed himself of a favorable
opportunity to lay hands on Aldora, Ramiro’s queen, and took her to his
castle of Gaya. Ramiro, with five galleys crowded with his vassals,
ran in at San João de Foz, near Gaya. He had taken the precaution to
cover his galleys with green cloth, and he laid them under the boughs
of trees with which the place was covered, so that they were not to
be seen. Having landed his men, he left them under the command of his
son, D. Ordonho, with directions that they should keep well hidden and
not stir from the spot till they should hear his horn, but then come
with all speed, and himself putting on mean clothes (panos de tacanho,
de veleto) over sword, mail, and horn, went and lay down at a spring
near the castle. One of the queen’s women came out to fetch water for
her mistress. Ramiro, feigning to be unable to rise, asked her for a
drink, which she offered him. He put into his mouth the half of a ring
which he had divided with his queen, and dropped it into the vessel.
The queen saw the half-ring and knew it, and elicited from her maid
that she had met a sick beggar, who had asked for a drink. The man was
sent for. ‘What brings you here, King Ramiro?’ demanded the queen.
‘Love for you,’ said he. ‘No love for me; you care more for Artiga,’
she retorted. Ramiro was put into a back room, and the door was locked.
Presently Alboazar came into the queen’s chamber. The queen said to
him, What would you do to Ramiro if you had him here? Put him to death
cruelly (What he would do to me, kill him), responded the Moor. He is
locked up in that room, said the queen, and you can proceed at your
will.
Ramiro heard all this, and saw that he had never had more need to
use his wits. He called in a loud voice to Alboazar: I wronged you
by carrying off your sister. I confessed my sin to my priest, and he
required of me as penance to go to you in this vile garb, and put
myself in your power; and if you wished to take my life, I was to
submit to death in a shameful place, and the fact and cause of my death
were to be proclaimed by a horn to all your people. Now I have to ask
that you would collect your sons, your daughters, your kinsfolk, and
the people of this town, in a cattle-yard (curral), put me up high, and
let me blow this horn that I wear, until breath and life fail. So you
will have your revenge, and I shall save my soul. Alboazar began to
feel compassion for Ramiro. Aldora exclaimed at his weakness and folly.
Ramiro, she said, was revengeful and cunning, and sparing him was
rushing into destruction; whereby the Moor was brought to say, You know
that if you had me in your hands, I should not escape. I will do what
you ask, for the salvation of your soul. So Alboazar took Ramiro to the
yard, which had high walls and but one gate, and the queen, her dames
and damsels, the Moor’s sons and kinsfolk, and the town’s people, were
there. Ramiro was put on a pillar, and told to blow till life left his
body; and he blew with all his might. D. Ordonho came with the king’s
vassals and beset the gate. Ramiro drew his sword and split Alboazar’s
head. The queen and her ladies were spared, but every other creature
in the yard was slain, including four sons and three daughters of
Alboazar, and no stone was left standing in Gaya. Ramiro put the queen
and her women aboard the galleys. Aldora was found weeping. Ramiro
asked the cause. Because you have killed the Moor, a better man than
yourself, was her answer. This was thought too much to be borne. The
queen was tied to a millstone and thrown into the sea. Ramiro married
Artiga.[11]
There is a poem on this theme by João Vaz (Lisbon, 1630, reprinted by
Braga, 1868), which points to a different source than the genealogies.
Ramiro takes the sister of King Almanzor captive in war, and becomes
enamored of her, in consequence of which Gaya, Ramiro’s wife, elopes
with Almanzor. Gaya receives Ramiro with feigned kindness when he
comes to the castle, then betrays him (as in the French romance).[12]
Almeida-Garrett composed a little romance out of the story as here
given, with the name Zahara for Alboazar’s sister, and Gaia for
Ramiro’s wife, and making Ramiro cut off Gaia’s head before he throws
her into the water: ‘Miragaia,’ Romanceiro, I, 181, ed. 1863. He
informs us that he has interwoven in his poem some verses from popular
tradition. A ballad of Ramiro, or at least some remnant of one, appears
still to be in existence. Madame de Vasconcellos (1880) had heard two
lines of it.
Li Bastars de Buillon, a romance of the fourteenth century, repeats
the chief incidents of the foregoing accounts, agreeing in details
sometimes with one, sometimes with another.[13] Ludie, daughter of the
emir of Orbrie, is to marry Corsabrin, king of Mont Oscur. The Bastard
of Bouillon, who has heard of the beauty of the Saracen princess,
conceives a sudden fancy for her. He besieges and takes the city of
Orbrie, kills the emir, and compels Ludie to submit to baptism and to
marriage with himself. She takes advantage of an absence of the Bastard
to escape to Corsabrin, who makes her his queen. The Bastard, bent on
vengeance, sails to Mont Oscur, and in the adjacent woods lights on a
charcoal-man who is going to the castle in the way of his business. He
kills the charcoal-man and puts on his clothes, and in this habit, with
a well-blackened face, has no difficulty in obtaining entrance to the
residence of Corsabrin. His men he has left in the wood under command
of his counsellor and lieutenant, Hugh. Corsabrin is hawking, but the
Bastard falls in with Ludie, who affects to be glad of his coming, and
offers to go off with him if he will forgive her and do her no harm. A
bath would seem to be in order. Ludie has one prepared for the Bastard,
and while he is engaged in taking it, sends for Corsabrin, who comes in
upon the young Frank with sixty men. Ludie enjoins her rightful husband
to show no mercy. The Saracen will not do so infamous a thing as to put
his enemy to death in a bath, but assures his wife that the Bastard
shall die _à guise de martir_. A rich dress is furnished the Bastard,
and Corsabrin then says, On your oath, now, what death should I die,
were I in your power? Sire, says the Bastard, why should I dissemble?
I promise you, I would take you to a wood, and I would hang you to the
highest tree I could find. By Mahound! says the king, so will I do
with you. The Bastard is taken to a wood, with a rope round his neck.
Corsabrin’s people look out the highest tree. The Bastard is made to go
up, higher and higher, the hangman drawing the rope all too tight the
while, till the king says, Now. At the last moment the Bastard calls
out to Corsabrin that he is a knight of high birth, and ought not to
die like a rogue, but as a man of mark dies among the Franks. And how
is that? asks the Saracen. They give him a horn, and he blows four or
five times to summon the angels to come for his soul. Then he says a
prayer. Then they strangle him or behead him. A horn is sent up to the
Bastard, and he blows lustily. Hugh hears, and rides in hot haste to
the call. The Bastard makes the most of his grace; his prayer is very
long. He sees that a fight is going on below, and knocks the hangman
dead from the tree with his fist, then comes down from the tree and
joins in the fray. Hugh runs Corsabrin through with a lance, Ludie is
taken captive, and every other living being in the castle is slain.
Hugh begs as a reward for his services that he may have the disposal of
Ludie. The Bastard accords the boon, with a recommendation to mercy:
‘arse fu li royne c’on appella Ludie.’
The escaping to a lover by taking a drug which causes apparent death,
and the test of molten lead or gold, in the German poems, and in
Cligès, 6000 ff., are found in ‘The Gay Goshawk,’ No 96, II, 355 ff.
The test is also employed in one form of the Russian prose narratives:
Vesselofsky, in the Slavic Archiv, VI, 409.
A portion of the story is preserved in Scandinavian ballads, with very
distinct marks of Russian origin.
=Swedish.= ‘Jungfru Solfager,’ Arwidsson, I, 177, No 25: =A= from a MS.
of the sixteenth century, =B= from recitation.
=A.= Solfager is a handsome woman, so handsome as to endanger her
husband Sir David’s life. Fearing that she may be carried off, David in
some way marks or stamps her hand with a gold cross, that she may be
known thereby. As Solfager is standing at the castle gate, Novgorod’s
(Nougård’s) king comes riding up. He asks if her husband is at home;
Sir David went away the day before, and will not come back for a year.
The king tells her that if she will plight herself to him she shall
always wear gold shoes; Solfager answers that she loves David dearly.
The king gives her a drink, two drinks; she swoons, and falls to the
ground; she is laid on a bier, taken to the kirk-yard, and buried. The
king (David in the text, absurdly) has kept his eye on their doings;
he digs her up, and carries her out of the land. David, disguised as a
pilgrim, goes to the king of Novgorod’s palace, and asks to be housed
as a poor pilgrim. The king invites him in. David takes his place with
other pilgrims; Solfager breaks bread for them. [Her hand is gloved.]
David asks why she does not break bread with a bare hand; she calls him
an old fool, and bids him eat or go. The king, from his bed, inquires
what the pilgrim is saying. ‘Lie down, my lord,’ answers Solfager;
‘what a fool says is no matter.’ They all fall asleep in their places;
Solfager follows Sir David home.
=B.= Solfot looks at her face in the water. ‘God help me for my
beauty!’ she exclaims, ‘surely I shall come to a strange land.’ Her
husband, the Danish king, tells her that he shall write a cross in her
right hand, by which he shall find her again. While Solfot is combing
her hair out of doors, the Ormeking asks her if she has a golden crown
to put on it; she has four and five, all the gift of the king of the
Danes. Ormeking gives her a drink which turns her black and blue;
Solfot is laid in the ground; Ormeking knows well where, takes her
up, carries her off to his own place, and gives her seven drinks; she
stands up as good as ever. Daneking dons pilgrim’s clothes and goes
to Ormeking’s. Solfot, as northern ladies wont, is combing her hair
out of doors. Daneking asks for a pilgrim’s house; there is one on the
premises, where poor pilgrims use (like King Claudius) to take their
rouse. The pilgrims stand in a ring; Solfot is to dispense mead to them
in turn. Daneking dashes his gloves on the board: ‘Is it not the way
here that ladies deal mead with bare hands?’ Ormeking dashes his gloves
on the board: ‘That was a bold word for a pilgrim!’ ‘If that was a bold
word for a pilgrim,’ says Daneking, ‘it was bolder yet to dig Solfot
out of the ground.’ Then he puts Solfot on his horse and rides away.
There are also two unprinted nineteenth-century copies in Professor G.
Stephens’s collection.
=Norwegian.= ‘Sólfager og Ormekongin,’ Landstad, p. 503, No 56, from a
woman’s singing. They stamp a gold cross on (or into? the process is
not clear) Sólfager’s hand, that she may be recognized in a strange
country. The Ormeking (or King Orm) comes riding while Sólfager is
sunning her hair. ‘Trick King David,’ he says, ‘and bind yourself to
me.’ ‘Never shall it be,’ she replies, ‘that I give myself to two
brothers.’ He administers to her three potions, she swoons; word comes
to King David that she is dead; they bury her. Ormeking does not fail
to carry off the body. King David goes to Ormeking’s land in pilgrim’s
garb, with pilgrim’s staff; as he enters the court Sólfager is undoing
her hair. [Then there is a gap, which may be easily filled up from
the Swedish story.] ‘Is it the custom here to cut bread with gloved
hand?’ She takes off his pilgrim’s hat, and takes his yellow locks in
her hand. ‘When you say you are a pilgrim, you must be lying to me.’
‘Even so,’ he answers, ‘but I am your dear husband, as you easily may
see. Will you go home with me?’ ‘Gladly,’ she says, ‘but I am afraid of
Ormeking.’ King David takes Ormeking’s horse and rides home with his
wife. When Ormeking comes back, Sólfager is away. (A final stanza does
not belong to the story.)
There are other unprinted copies which will appear in a contemplated
edition of Norwegian ballads by Sophus Bugge and Moltke Moe.
=Danish.= Eight unprinted MS. copies of the seventeenth century and a
flying sheet of the date 1719. The ballad will be No 472 of Danmarks
gamle Folkeviser.[14] A fragment of five stanzas (of dialogue relative
to the gloved hand) is given by Kristensen, Jyske Folkeminder, X, 331,
No 82.
It will be observed that the ravisher is king of Novgorod in Swedish
=A=, as in one of the Russian epics, and that he is the brother of King
David in the Norwegian ballad as he is of King Solomon in the Russian
prose tale. The sleeping-draught, burial, and digging up are in the
Servian tale, and something of them in the Little Russian tale, as also
in the earlier German poem.
For the boon of blowing the horn see No 123, ‘Robin Hood and the Curtal
Friar,’ and No 140, ‘Robin Hood rescuing Three Squires,’ III, 122, 177,
ff.; also Heiðreks Saga, Rafn, Fornaldar Sögur, I, 458-61 (14), 529 f.
(9); Vesselofsky, in the Slavic Archiv, VI, 404 f.; and Wollner’s note,
Abschiedblasen, Brugman’s Litauische Märchen, p. 552.
August 1, 1586, there was allowed to Yarrat James as one of six ballads
‘A merrie jest of John Tomson and Jakaman his wife,’ Arber, Stationers’
Registers, II, 450. This ballad is preserved in the Roxburghe
collection, I, 254, 255, Ballad Society’s edition, II, 136, and, so far
as I have observed, there only. It is subscribed M. L., initials which
Mr Chappell was unable to identify, and it was imprinted at London for
Edward Wright. The Roxburghe copy was reprinted by R. H. Evans, Old
Ballads, 1810, I, 187. The title is
‘A merry Iest of Iohn Tomson and Jakaman his wife,
Whose jealousie was justly the cause of all their strife.’
It is dated in the Museum catalogue 1635?. This is an extremely vapid
piece, and has no manner of connection with ‘John Thomson and the
Turk.’ In Halliwell’s Notices of Popular English Histories, p. 91,
Percy Society, vol. xxiii, there is one, No 108, of ‘John Thompson’s
Man, or a short survey of the difficulties and disturbances that may
attend a married life,’ etc., 24 pp., 12°. There is a copy in the
Abbotsford Library.
‘To be John Thomson’s man’[15] is a Scottish proverb signifying to be
submissive to a wife, or, more generally, to be complaisant. “John
Thomson’s men” are “still ruled by their wives:” Colville’s Whig’s
Supplication, or, The Scotch Hudibras, cited by Motherwell. “Samson was
the greatest fool that ever was born, for he revealed his secrets to a
daft hussie. Samson, you may well call him Fool Thompson, for of all
the John Thomson’s men that ever was he was the foolest:” The Scotch
Presbyterian Eloquence, etc., London, 1692 (cited by Motherwell, from
the edition of 1768, in a MS. note, Appendix, p. x, in a copy of the
Minstrelsy which belonged to Mr R. A. Ramsay.) Some begging verses of
Dunbar to the King have the refrain, ‘God gif ye war Johne Thomsoneis
man.’ (Other quotations in Leyden, p. 370, Motherwell, Appendix, p.
ix.)[16]
A
Buchan’s Ballads of the North of Scotland, II, 159; Motherwell’s MS.,
p. 615; Motherwell’s Minstrelsy, Appendix, p. ix.
1
John Thomson fought against the Turks
Three years into a far country,
And all that time, and something more,
Was absent from his gay lady.
2
But it fell ance upon a time,
As this young chieftain sat alane,
He spied his lady in rich array,
As she walkd oer a rural plain.
3
‘What brought you here, my lady gay,
So far awa from your own country?
I’ve thought lang, and very lang,
And all for your fair face to see.’
4
For some days she did with him stay,
Till it fell ance upon a day,
‘Farewell for a time,’ she said,
‘For now I must bound home away.’
5
He’s gien to her a jewel fine,
Was set with pearl and precious stone;
Says, My love, beware of these savages bold,
That’s on your way as ye go home.
6
Ye’ll take the road, my lady fair,
That leads you fair across the lee;
That keeps you from wild Hind Soldan,
And likewise from base Violentrie.
7
With heavy heart these two did part,
And minted as she would go home;
Hind Soldan by the Greeks was slain,
But to base Violentrie she’s gone.
8
When a twelvemonth had expired,
John Thomson he thought wondrous lang,
And he has written a broad letter,
And seald it well with his own hand.
9
He sent it along with a small vessel
That there was quickly going to sea,
And sent it on to fair Scotland,
To see about his gay ladie.
10
But the answer he received again,
The lines did grieve his heart right sair;
None of her friends there had her seen
For a twelvemonth and something mair.
11
Then he put on a palmer’s weed,
And took a pikestaff in his hand;
To Violentrie’s castle he hied,
But slowly, slowly he did gang.
12
When within the hall he came,
He joukd and couchd out-oer his tree:
‘If ye be lady of this hall,
Some of your good bountieth give me.’
13
‘What news, what news, palmer?’ she said,
‘And from what countrie came ye?’
‘I’m lately come from Grecian plains,
Where lys some of the Scots army.’
14
‘If ye be come from Grecian plains,
Some more news I will ask of thee;
Of one of the chieftains that lies there,
If he have lately seen his gay ladie.’
15
‘It is twelve months and something more
Since we did part in yonder plain;
And now this knight has begun to fear
One of his foes he has her taen.’
16
‘He has not taen me by force nor might,
It was all by my own free will;
He may tarry in the fight,
For here I mean to tarry still.
17
‘And if John Thomson ye do see,
Tell him I wish him silent sleep;
His head was not so cozelie
Nor yet so well as lies at my feet.’
18
With that he threw [aff] his strange disguise,
Laid by the mask that he had on;
Said, Hide me now, my ladie fair,
For Violentrie will soon be home.
19
‘For the love I bare thee once,
I’ll strive to hide you if I can;’
Then put him down to a dark cellar,
Where there lay mony a new slain man.
20
But he hadna in the cellar been
Not an hour but barely three,
Till hideous was the sound he heard;
Then in at the gates came Violentrie.
21
Says, I wish you well, my lady fair,
It’s time for us to sit and dine;
Come, serve me with the good white bread,
And likewise with the claret wine.
22
‘That Scots chieftain, our mortal foe,
So oft from field has made us flee,
Ten thousand sequins this day I’d give
That I his face could only see.’
23
‘Of that same gift would ye give me,
If I could bring him unto thee?
I fairly hold you at your word;
Come ben, John Thomson, to my lord.’
24
Then from the vault John Thomson came,
Wringing his hands most piteouslie;
‘What would ye do,’ the Turk he cried,
‘If ye had me, as I have thee?’
25
‘If I had you, as ye have me,
I’ll tell you what I’d do to thee;
I’d hang you up in good greenwood,
And cause your own hand wile the tree.
26
‘I meant to stick you with my knife,
For kissing my beloved wife;’
‘But that same weed ye’ve shaped for me,
It quickly shall be sewed for thee.’
27
Then to the wood they both are gone,
John Thomson clamb from tree to tree;
And aye he sighd, and said, Ohon!
Here comes the day that I must die!
28
He tied a ribbon on every branch,
Put up a flag his men might see;
But little did his false foe ken
He meant them any injurie.
29
He set his horn to his mouth,
And he has blawn baith loud and shrill;
And then three thousand armed men
Came tripping all out-oer the hill.
30
‘Deliver us our chief!’ they all did cry,
‘It’s by our hand that ye must die!’
‘Here is your chief,’ the Turk replied,
With that fell on his bended knee.
31
‘O mercy, mercy, good fellows all,
Mercy I pray you’ll grant to me!’
‘Such mercy as ye meant to give,
Such mercy we shall give to thee.’
32
This Turk they in his castle burnt,
That stood upon yon hill so hie;
John Thomson’s gay lady they took,
And hangd her on yon greenwood tree.
B
Leyden’s Glossary to The Complaynt of Scotland, p. 371.
1
O Cam ye in by the House o Rodes,
Or cam ye there away?
Or have [ye] seen Johne Tamson?
They say his wife has run away.
* * * * * * *
2
‘O what wad ye do, Johne Tamson,
Gin ye had me as I hae thee?’
‘I wad tak ye to the gude green-wood,
And gar your ain hand weil the tree.’
* * * * * * *
3
Johne Tamson peeped and poorly spake
Untill he did his ain men see;
‘O by my sooth,’ quo Johne Tamson,
‘Methinks I see a coming tree.’
* * * * * * *
4
And they hae hanged that grim Soudan,
For a’ his mirth and meikle pride,
And sae hae they that ill woman,
Upon a scrogg-bush him beside.
* * * * *
15^1. two months _in all the copies_; _cf._ 8^1.
19^4. lye.
_Motherwell’s MS. has a few variations, but these may be attributed to
Motherwell. All excepting one, which is an error of the pen, appear in
the Minstrelsy._
5^4. in your.
14^4. has.
15^2. part on.
16^3. into the.
19^4. lay.
20^3. Then.
(20^4. _Minstrelsy_, When.)
20^4. gate.
21^2. sit to.
22^3. I’ll.
25^1. have, _error of the pen_.
25^4. wale.
26^2. ladie _for_ wife, _to avoid couplets_.
28^3. foes.
FOOTNOTES:
[1] He has introduced the main points of the story (in fact =B= 2, 3)
into his ballad of ‘Lord Soulis,’ Scott’s Minstrelsy, 1833, IV, 244.
[2] Especially by A. Vesselofsky, Slavic Tales concerning Solomon and
Kitovras, etc., St Petersburg, 1872 (in Russian); Neue Beiträge zur
Geschichte der Salomonssage, Archiv für Slavische Philologie, VI, 393
ff., 548 ff., 1882; V. Jagić, Archiv, etc., I, 103 ff., 1876; F. Vogt,
Salman und Morolf, 1880, Zur Salman-Morolfsage, Paul und Braune’s
Beiträge, VIII, 313 ff., 1882. See these for tales containing portions
of the same matter in various combinations, and for a discussion of an
Oriental derivation.
[3] G. Paris, in Romania, VII, 462, IX, 436; Cligès, ed. Foerster, p.
xix.
[4] Rybnikof, II, Nos 52, 53, III, No 56. See Jagić, as above, pp.
103-6; Miss I. F. Hapgood, Epic Songs of Russia, p. 282, who combines
the three texts.
[5] Jagić, Archiv, I, 107 f.; Vesselofsky, the same, VI, 406.
[6] Cf. =B= 3^4. Methinks I see a coming tree.
[7] Karadschitsch, Volksmärchen der Serben, 1854, No 42, p. 233.
[8] Von der Hagen u. Büsching, Deutsche Gedichte des Mittelalters,
1808, I, 62, vv. 1605-1848.
[9] Vogt, Salman und Marolf.
[10] Os livros de Linhagens, in Portugaliæ Monumenta Historica,
Scriptores, 1856, I, 180 f., 274-7. The latter account was printed by
Southey in the preface to his ballad ‘King Ramiro’ (1802), Poetical
Works, 1853, VI, 122, and a passage from the other.
Kemble, Salomon & Saturnus, p. 19, 1848, remarks on the resemblance of
the story of Ramiro to that of Solomon. For historical names and facts
in the Portuguese _sage_, see Baist in Zs. f. romanische Philologie, V,
173.
[11] There is nothing about the fair Moor in the first and briefer
account, or of the penance given Ramiro. Ortiga is there the name of
the servant who comes to fetch water. Ramiro is brought before the Moor
and told that he is to die. But I should like to ask you, says the
Moor, what manner of death mine should be if you had me in your hands.
The king was very hungry, and he answered, I would give you a stewed
capon and a loaf, and make you eat them, and then wine and make you
drink, and then open the gates of my cattle-yard and have all my people
called to see you die, and make you mount on a pillar and blow your
horn till your breath was gone.
[12] Madame Michaëlis de Vasconcellos, in Paul u. Braune’s Beiträge,
VIII, 315 f.
[13] Ed. Scheler, Bruxelles, 1877; vv. 4503-6253.
[14] I am indebted to Dr Axel Olrik for information concerning the
Solfager ballads, and for transcripts of Danish and Swedish versions
not received in time for notice here. See p. 280.
[15] Originally, no doubt, as Motherwell suggests, Joan Thomson’s man,
or husband.
[16] “One John Thomson is mentioned as an officer in the army
of Edward Bruce in Ireland. After Bruce’s death, he led back to
Scotland the remnant of his army. In 1333, he held for David Bruce
the castle of Lochdoun in Carrick. Sir W. Scott thus characterizes
him: ‘John Thomson, a man of obscure birth and dauntless valor, the
same apparently who led back from Ireland the shattered remainder of
Edward Bruce’s army, held out for his rightful sovereign.’ History
of Scotland, I, 181.” Note by Motherwell in Mr Ramsay’s copy of the
Minstrelsy, Appendix, p. ix.
267
THE HEIR OF LINNE
=A.= ‘The Heir of Lin,’ Percy MS., p. 71; Hales and Furnivall, I, 174.
=B. a.= ‘The Heir of Linne,’ Buchan’s MSS, I, 40; Motherwell’s MS.,
p. 630; Dixon, Scottish Traditional Versions of Ancient Ballads, p.
30, Percy Society, vol. xvii. =b.= ‘The Weary Heir of Linne,’ Buchan’s
MSS, II, 114. =c.= ‘The Laird o Linne,’ Christie’s Traditional Ballad
Airs, I, 112.
The three stanzas cited by Motherwell, Minstrelsy, Introduction, p.
lxviii, note 15 (wrongly as to 2^4), and repeated from Motherwell by
Chambers, p. 310, Whitelaw, p. 81, Aytoun, II, 342, are from =B a=.
=A.= The heir of Linne, a Scots lord, took to cards, dice, and wine,
sold his lands to John o the Scales, and went on in dissolute ways for
three fourths of a year longer; then he was forced to go to Edinburgh
and beg his bread. Some gave him, some refused him, some bade him go to
the devil. Brooding over his destitution, he remembered that his father
had left him a paper which he was not to look into till he should be
in extreme need. This paper told him of a castle wall in which stood
three chests of money. Filling three bags with gold, he went to John o
Scales’s house. John’s wife wished herself a curse if she trusted him a
penny. One good fellow in the company offered to lend him forty pence,
and forty more, if wanted. John o Scales tendered him his lands back
for twenty pounds less than they had been sold for. The heir of Linne
called the lords present to witness, threw John a penny to bind the
bargain, and counted out the money from his bags. Then he gave the good
fellow forty pounds, and made him keeper of his forest, and beshrewed
himself if ever he put his lands in jeopardy again.
=B.= The heir of Linne stands at his father’s gates, and nobody
asks him in. He is hungry, wet, and cold. As he goes down the town,
gentlemen are drinking. Some say, Give him a glass; some say, Give him
none. As he goes up the town, fishermen are sitting. Some say, Give
him a fish; some say, Give him a fin. He takes the road to Linne,[17]
and on the way begs of his nurse a slice of bread and a bottle of
wine, promising to pay them back when he is laird of Linne; which he
will never be, she says. A score of nobles are dining at Linne. Some
say, Give him beef, some say, Give him the bone; some say, Give him
nothing at all. The new laird will let him have a sip, and then he may
go his gate. At his wits’ end, he now recalls a little key given him
by his mother before she died, which he was to keep till he was in his
greatest need. This key fits a little door somewhere in the castle.
He gets gold enough to free his lands. He returns to the company of
nobles. The new laird offers him Linne back for a third of what had
been paid for it. He takes the guests to witness, and tells the money
down on a table. He pays the nurse for her bread and wine. His hose had
been down at his ankles; now he has fifteen lords to escort him.[18]
Percy, Reliques, 1765, II, 309, 1794, II, 128 (with some readings
of his manuscript restored in the later edition), as he puts it,
revised and completed =A= by “the insertion of supplemental stanzas,”
“suggested by a modern ballad on a similar subject.” In fact, Percy
made a new ballad,[19] and a very good one, which, since his day, has
passed for ‘The Heir of Linne.’ (Herd, 1769, p. 227, but afterwards
dropped; Ritson, Scotish Songs, II, 129; Ritson, Ancient Songs and
Ballads, 1829, II, 81, with a protest; even Chambers, p. 310, Aytoun,
II, 342; for the Scottish version had not been printed when these
collections appeared.)
The modern ballad on a similar subject used by Percy was ‘The
Drunkard’s Legacy,’[20] an inexpressibly pitiable ditty, from which
Percy did not and could not take a line, but only, as he says, a
suggestion for the improvement of the story. In this, a gentleman has
a thriftless son given over to gaming and drunkenness. The father,
foreseeing his ruin, builds a cottage on a waste plat of land, with
one door, fastened by a spring-lock. On his death-bed he sends for
his son, tells him of the cottage, and directs him, after he has lost
all his friends and pawned his lands, to break open the door, for he
shall find something within to end his troubles. After the father’s
death the son spent all his ready money, and then pawned his lands
to the keeper of a tavern which he had frequented, who, in the end,
kicked him out of doors. Recalling now his father’s injunction, the son
broke open the cottage, hoping to find money. He saw only ‘a gibbet
and a rope,’ and a stool under the rope. He mounted the stool, put
the rope round his neck, and jumped off. The ‘gibbet’ broke, and a
thousand pound in gold came tumbling about his ears. The young man,
with a blessing on his father, vowed to give up drinking. He went to
the vintner’s, and getting a rough reception, complained of his so
treating a man who had pawned to him for three hundred pounds lands
bringing in eight score pounds’ rent, and besides had spent the money
in that shop. The vintner told him to bring a hundred pounds the next
day and take the lands back. The young man asked a note to this effect,
which was unsuspectingly given. He then went and fetched the money,
bringing with him a comrade, ‘who had made him drink when moneyless.’
The vintner declared that he had spoken in jest, but ‘this young man’s
friend’ urged that the written agreement would ‘cast’ him in law; so
the vintner had to take the hundred pounds and give up the deeds, and
he cut his throat for mortification. From that time the prodigal lived
a sober, charitable life.
Percy’s introduction of the lonesome lodge, the hanging, the bursting
ceiling, and the father’s double admonition, is an improvement too
striking to require or bear much comment. It is very far from certain
that a young reprobate, who has spent everything in riotous living,
will be turned into better courses by simply coming upon more money, as
in the traditional ballad; whereas there is a very fair chance that the
moral shock received in the other might be efficacious.
There are several Oriental stories which closely resemble that of ‘The
Drunkard’s Legacy,’ or of Percy’s ‘Heir of Linne.’
(1.) Sinadab was left by his father’s will free to dispose of a large
property, with the exception of a diminutive garden, at the end of
which was a small house. This he was on no account to part with. He
indulged in reckless profusion, and in about two years everything
was spent. The friends of his affluent days abandoned him,--all but
one, who gave him ten sequins. With only this in hand he set out on a
voyage which led to adventures which may be passed over. They ended
in his coming again to extreme poverty. He then remembered the little
garden which he had been forbidden to sell. He found a small box in the
house, and eagerly broke it open. There was nothing in it but a rope,
with a writing in his father’s hand, rebuking him for his dissipation,
and suggesting that, if he had sufficient resolution, he might put
an end to his troubles by use of the rope. Sinadab accordingly got
up on a stool, fastened the rope to the ceiling, adjusted a noose
about his neck, and pushed back the stool. The ceiling gave way, and
he was covered with a shower of gold pieces, which proved to be only
a trifling part of riches concealed above. His career after this was
serious and prudent. Gueulette, ‘Les mille et un quart d’heure,’ Contes
Tartares, Cabinet des Fées, XXI, 66-70, 89-93.
(2.) =Turkish.= A merchant took his son to a certain house, and said,
If you waste the wealth I leave, do not beg, but get a rope and hang
yourself from this ring. The son squandered his inheritance with
sycophants, who reviled him after he was stripped. He got a rope, went
to the house, mounted a stool, fastened one end of the rope to the
ring, the other about his neck, and threw himself from the stool. A
board in which the ring was fastened gave way, the young man fell to
the ground, and gold and jewels came pouring upon him. He repented of
his profligacy, and reformed his ways. ‘The Forty Vezirs,’ Gibb, p.
244; Behrnauer, p. 253.
(3.) =Arabic.= A man charged his son not to beg if he should come to
want, for he had hidden a treasure in his house, which, however, he was
not to resort to until compelled by dire necessity. After his father’s
death, the son, without delay, broke into the place where the treasure
had been said to be concealed, but found only an empty room, with a
rope hanging from the ceiling. Under the rope was a pile of bricks,
and a paper recommending him to get up on the bricks and hang himself.
The young man went off, and with the assistance of parasites, was soon
rid of all his wealth. After a taste of the sharpness of poverty and
of the baseness of summer friends, he went to the room where he had
expected to find the treasure, stepped on the pile of bricks, tied the
rope round his neck, and kicked away the bricks. The rope parted, and
a quantity of precious things tumbled from overhead. His false friends
promptly returned with prosperity, but were put to shame. Tausend und
eine Nacht, Deutsch von Habicht, v. d. Hagen u. Schall, 1840, XIV,
65-68.
(4.) The same story, with some of the details of both 2 and 3, in
Pauli’s Schimpf und Ernst, Oesterley, p. 400, from the edition of 1533.
In Pauli’s tale, the young man, after a year of exemplary life in the
world, gives all his goods to the poor and turns hermit.
(5.) =Persian.= Atalmulc’s extravagances cause his father great
anxiety. The father, when near his end, charges his son, if he should
be so unhappy as to dissipate the fortune he will receive, to hang
himself to a branch of a tree in the middle of the garden. The bough
breaks, and the trunk is found to be full of precious stones. Petis de
la Croix, Les Mille et un Jour, Cabinet des Fées, XIV, 457.
There is another and seemingly an independent story, summarized in two
distichs in the Greek Anthology (IX, 44, 45, translated by Ausonius,
Epigrammata, 22, 23), how a man, who was about to hang himself, found
some money, and left his rope behind, and how the owner of the money,
coming for it and not finding it, hanged himself with the rope.[21]
La Fontaine’s fable, ‘Le Trésor et les deux Hommes,’ IX, 16, is this
story, with a wall falling, not by precontrivance, but from its ruinous
condition.
The eighth tale in the ninth decade of Giraldi Cinthio’s Hecatommithi,
1565, II, 563, is a modification of what may be called the Greek story.
“Chera hid a treasure. Elisa, going about to hang herself, and tying
the halter about a beam, found that treasure, and in place thereof left
the halter. Philene, the daughter of Chera, going for that treasure,
and busily searching for the same, found the halter, wherewithal, in
despair, she would have hanged herself, but,” etc. (Painter’s argument
to his translation of Cinthio’s tale in the Palace of Pleasure, 2d Tome
(1567), 11th novel, ed. Jacobs, II, 264.)
The Greek Syntipas has another variety. A man, reduced to want, takes
a sword and goes to a lonely place to end his misery. He finds in a
deep hole or fosse a quantity of gold which has been hidden there by a
cyclops, takes it, and goes back to his house very happy. The cyclops,
coming to the spot and not finding his gold, but seeing the sword lying
about, slays himself. Matthæi, Syntipæ Fabulæ, 1781, p. 38, μη; Coray,
Æsop, p. 246, No 384.[22]
A tale in Anvár-i Suhailí has been cited in connection with the
foregoing, which has only a general and remote resemblance to ‘The Heir
of Linne.’ A wise king, perceiving that his two unpromising sons would
misuse his treasures, buries them in a hermitage. After his death, his
sons quarrel about the succession. The younger is worsted, and brought
so low that he abandons the world, and selects this hermitage for his
retirement. Here he learns wisdom that is better than riches, and
also discovers the buried treasure. Both the elder brother and a king
with whom he is at variance are killed in a fight, and the younger is
offered a double kingdom. (Chapter I, story II, Eastwick, p. 74; also,
Contes et Fables Indiennes de Bidpaï et de Lokman (Galland), Cabinet
des Fées, XVII, 122; The Fables of Pilpay, London, 1818, p. 51.)
* * * * *
Percy’s ballad is translated by Bodmer, II, 117, and by Knortz, Lieder
und Romanzen Alt-Englands, p. 78.
A
Percy MS., p. 71; Hales and Furnivall, I, 174.
1
Off all the lords in faire Scottland
A song I will begin;
Amongst them all there dweld a lo_rd_
W_hi_ch was the vnthrifty lo_rd_ of Linne.
2
His father and mother were dead him froe,
And soe was the head of all his kinne;
To the cards and dice _tha_t he did run
He did neither cease nor bl[i]nne.
3
To drinke the wine that was soe cleere,
W_i_th euery man he wold make merry;
And then bespake him Iohn of the Scales,
Vnto the heire of Linne sayd hee.
4
Sayes, How dost thou, Lo_rd_ of Linne?
Doest either want gold or fee?
Wilt thou not sell thy lands soe brode
To such a good fellow as me?
5
‘Ffor. . I. .’ he said,
‘My land, take it vnto thee;’
‘I draw you to record, my lord[ë]s all;’
W_i_th _tha_t he cast him a god’s peny.
6
He told him the gold vpon the bord,
It wanted neuer a bare penny:
‘_Tha_t gold is thine, the land is mine,
The heire of Linne I wilbee.’
7
‘Heere’s gold inoughe,’ saithe the heire of Linne,
‘Both for me and my company:’
He drunke the wine _tha_t was soe cleere,
And w_i_th euery man he made merry.
8
W_i_th-in three quarters of a yeere
His gold and fee it waxed thinne,
His merry men were from him gone,
And left him himselfe all alone.
9
He had neuer a penny left in his pursse,
Neuer a penny [left] but three,
And one was brasse, and another was lead,
And another was white mony.
10
‘Now well-aday!’ said the heire of Linne,
‘Now welladay, and woe is mee!
For when I was the lord of Linne,
I neither wanted gold nor fee.
11
‘For I haue sold my lands soe broad,
And haue not left me one penny;
I must goe now and take some read
Vnto Edenborrow, and begg my bread.’
12
He had not beene in Edenborrow
Not three qwarters of a yeere,
But some did giue him, and some said nay,
And some bid ‘to the deele gang yee!
13
‘For if we shold hang any landles feer,
The first we wold begin w_i_th thee.’
‘Now welladay!’ said the heire of Linne,
‘No[w] welladay, and woe is mee!
14
‘For now I have sold my lands soe broad,
_Tha_t mery man is irke w_i_th mee;
But when _tha_t I was the lo_rd_ of Linne,
Then on my land I liued merrily.
15
‘And now I have sold my land soe broade
_Tha_t I haue not left me one pennye!
God be w_i_th my father!’ he said,
‘On his land he liued merrily.’
16
Still in a study there as he stood,
He vnbethought him of [a] bill;
He vnbethought him of [a] bill
W_hi_ch his father had left w_i_th him.
17
Bade him he shold neuer on it looke
Till he was in extreame neede,
‘And by my faith,’ said the heire of Linne,
‘Then now I had neuer more neede.’
18
He tooke the bill, and looked it on,
Good comfort _tha_t he found there;
Itt told him of a castle wall
Where there stood three chests in feare.
19
Two were full of the beaten gold,
The third was full of white mony;
He turned then downe his baggs of bread,
And filled them full of gold soe red.
20
Then he did neuer cease nor blinne
Till Iohn of the Scales house he did winne.
When _tha_t he came to Iohn of the Scales,
Vpp at the speere he looked then.
21
There sate three lords vpon a rowe,
And Iohn o the Scales sate at the bord’s head,
And Iohn o the Scales sate at the bord’s head,
Because he was the lo_rd_ of Linne.
22
And then bespake the heire of Linne,
To Iohn o the Scales’ wiffe thus sayd hee:
Sayd, Dame, wilt thou not trust me one shott
_Tha_t I may sitt downe in this company?
23
‘Now, Christ’s curse on my head,’ shee said,
‘If I doe trust thee one pennye;’
Then be-spake a good fellowe,
W_hi_ch sate by Iohn o the Scales his knee.
24
Said, Haue thou here, thou heire of Linne,
Forty pence I will lend thee;
Some time a good fellow thou hast beene;
And other forty if neede bee.
25
Thé dru[n]ken wine _tha_t was soe cleere,
And euery man thé made merry;
And then bespake him Iohn o the Scales,
Vnto the lo_rd_ of Linne said hee.
26
Said, How doest thou, heire of Linne,
Since I did buy thy lands of thee?
I will sell it to thee twenty pound better cheepe
Nor euer I did buy it of thee.
27
‘I draw you to recorde, lord[ë]s all,’
W_i_th that he cast him [a] god’s penny;
Then he tooke to his baggs of bread,
And they were full of the gold soe redd.
28
He told him the gold then over the borde,
It wanted neuer a broad pennye:
‘_Tha_t gold is thine, the land is mine,
And the heire of Linne againe I wilbee.’
29
‘Now welladay!’ said Iohn o the Scales’ wife,
‘Welladay, and woe is me!
Yesterday I was the lady of Linne,
And now I am but Iohn o the Scales’ wiffe!’
30
Saies, Haue thou heere, thou good fellow,
Forty pence thou did lend me,
Forty pence thou did lend me,
And forty pound I will giue thee.
31
‘Ile make thee keep_er_ of my forrest
Both of the wild deere and the tame,’
. . . . . . . .
. . . . . . . .
32
But then bespake the heire of Linne,
These were the words, and thus said hee,
Christs curse light vpon my crowne
If ere my land stand in any ieopardye!
B
=a.= Buchan’s MSS, I, 40. =b.= Buchan’s MSS, II, 114. =c.= Christie’s
Traditional Ballad Airs, I, 112.
1
‘The bonny heir, and the well-faird heir,
And the weary heir o Linne,
Yonder he stands at his father’s yetts,
And naebody bids him come in.
2
‘O see for he gangs, an see for he stands,
The weary heir o Linne!
O see for he stands on the cauld casey,
And nae an bids him come in!
3
‘But if he had been his father’s heir,
Or yet the heir o Linne,
He wadna stand on the cauld casey,
Some an woud taen him in.’
4
‘Sing ower again that sang, nourice,
The sang ye sung just now;’
‘I never sung a sang in my life
But I woud sing ower to you.
5
‘O see for he gangs, an see for he stands,
The weary heir o Linne!
O see for he stands on the cauld casey,
An nae an bids him come in!
6
‘But if he had been his father’s heir,
Or yet the heir o Linne,
He woudna stand on the cauld casye,
Some an woud taen him in.
7
‘When his father’s lands a selling were,
His claise lay well in fauld,
But now he wanders on the shore,
Baith hungry, weet, and cauld.’
8
As Willie he gaed down the town,
The gentlemen were drinking;
Some bade gie Willie a glass, a glass,
And some bade him gie nane,
Some bade gie Willie a glass, a glass,
The weary heir o Linne.
9
As Willie he came up the town,
The fishers were a’ sitting;
Some bade gie Willie a fish, a fish,
Some bade gie him a fin,
Some bade gie him a fish, a fish,
And lat the palmer gang.
10
He turned him right and round about,
As will as a woman’s son,
And taen his cane into his hand,
And on his way to Linne.
11
His nourice at her window lookd,
Beholding dale and down,
And she beheld this distressd young man
Come walking to the town.
12
‘Come here, come here, Willie,’ she said,
‘And rest yoursel wi me;
I hae seen you in better days,
And in jovial companie.’
13
‘Gie me a sheave o your bread, nourice,
And a bottle o your wine,
And I’ll pay you it a’ ower again,
When I’m the laird o Linne.’
14
‘Ye’se get a sheave o my bread, Willie,
And a bottle o my wine,
But ye’ll pay me when the seas gang dry,
For ye’ll neer be heir o Linne.’
15
Then he turnd him right and round about,
As will as woman’s son,
And aff he set, and bent his way,
And straightway came to Linne.
16
But when he came to that castle,
They were set down to dine;
A score o nobles there he saw,
Sat drinking at the wine.
17
Then some bade gie him beef, the beef,
And some bade gie him the bane;
And some bade gie him naething at a’,
But lat the palmer gang.
18
Then out it speaks the new-come laird,
A saucy word spake hee;
‘Put round the cup, gie my rival a sup,
Let him fare on his way.’
19
Then out it speaks Sir Ned Magnew,
Ane o young Willie’s kin;
‘This youth was ance a sprightly boy
As ever lived in Linne.’
20
He turned him right and round about,
As will as woman’s son,
Then minded him on a little wee key,
That his mother left to him.
21
His mother left [him] this little wee key
A little before she died;
And bade him keep this little wee key
Till he was in maist need.
22
Then forth he went, these nobles left,
All drinkin’ in the room,
Wi walking rod intill his hand,
He walked the castle roun.
23
There he found out a little door,
For there the key slipped in,
And there [he] got as muckle red gowd
As freed the lands o Linne.
24
Back through the nobles then he went,
A saucy man was then:
‘I’ll take the cup frae this new-come laird,
For he neer bade me sit down.’
25
Then out it speaks the new-come laird,
He spake wi mock an jeer;
‘I’d gie a seat to the laird o Linne,
Sae be that he were here.
26
‘When the lands o Linne a selling were,
A’ men said they were free;
This lad shall hae them frae me this day,
If he’ll gie the third pennie.’
27
‘I take ye witness, nobles a’,
Guide witnesses ye’ll be;
I’m promisd the lands o Linne this day,
If I gie the third pennie.’
28
‘Ye’ve taen us witness, Willie,’ they said,
‘Guide witnesses we’ll be;’
‘Buy the lands o Linne who likes,
They’ll neer be bought by thee.’
29
He’s done him to a gaming-table,
For it stood fair and clean;
There he tauld down as much rich gowd
As freed the lands o Linne.
30
Thus having done, he turnd about,
A saucy man was he;
‘Take up your monie, my lad,’ he says,
‘Take up your third pennie.
31
‘Aft hae I gane wi barefeet cauld,
Likewise wi legs full bare,
An mony days walkd at these yetts
Wi muckle dool and care.
32
‘But now my sorrow’s past and gane,
And joy’s returned to me,
And here I’ve gowd enough forbye,
Ahin this third pennie.’
33
As Willie he gaed down the town,
There he crawd wonderous crouse;
He calld the may afore them a’,
The nourice o the house.
34
‘Come here, come here, my nurse,’ he says,
‘I’ll pay your bread and wine;
Seas ebb and flow [as] they wont to do,
Yet I’m the laird o Linne.’
35
As he gaed up the Gallowgate port,
His hose abeen his sheen;
But lang ere he came down again
Was convoyed by lords fifeteen.
* * * * *
=A.=
_2. The third and fourth lines are fourth and third._
_3. There is probably a gap after the second line._
5^1. Ffor _wanting_: _supplied from the bottom of the preceding page_.
5^4. a good-se.
7^1. Lime.
8^1, 9^2, 12^2, 18^4, 19^2, 21^1. 3.
13^1. Land selfeer.
16^2 _has_ bis _prefixed_ to it.
19^1. 2.
20^1. blime.
20^3. Scalels: _misprint_?
21^2 _has_ bis _prefixed_.
20, 21, _are written together._
24^{2,4}, 30^{2,3}. 40.
26^3. 20^{li}_{:}.
28^4, 32^1. Lime.
30^2 _marked_ bis.
30^4. 40^1.
=B.= =a.=
9^2. a; =b=, all.
14^2. o your.
14^4. But ye’ll: _cf._ =b.=
23^2. For there; _perhaps simply_ For (==Where).
=b.=
_1 wanting._
2^3. on that.
2^3, 3^3, 5^3, 6^3, causey.
4^1. that sang again.
6^1. if ye, _wrongly_.
_13, 14 follow 6._
_7 wanting._
9^2. were all.
9^5. And some: gie ’m.
_10-12 wanting._
13^1. twa sheaves.
13^2. And ae glass.
13^3. And I will pay you them back again.
13^4. The day I’m heir of.
14^1. get three sheaves.
14^2. And twa glass.
14^3. But I’ll be paid: sea gangs.
14^4. For ye’ll.
_15-19 wanting._
20^{1,2}.
As Willie was sitting one day alane,
And nae body him wi.
20^3. He minded on.
20^4. That’s mither to him did gie.
20^{5, 6}.
Bade him never open a lock wi it
Ere the greatest strait he could see.
_21, 22 wanting._
23.
Then he did spy a little wee lock,
And the key gied linking in,
And he got goud and money therein
To pay the lands o Linne.
_24-32 wanting._
_35, 33, 34, for 33-35._
33^{1, 2}.
When Willie he came to the ha,
There he cried out wonderous crouse.
34^1. Come down, come down, nourice, he said.
34^2. Ere I pay you your.
34^3. For ye will be paid ere the seas gang dry.
34^4. For this day I’m heir.
35^1. As Willie he gied down the town.
35^3. But when that he came up again.
_Both Motherwell in copying the ballad (which he in all likelihood
received from Buchan), and Dixon in printing it, made a few changes:
as (Motherwell) the northern_ for _in_ 2^{1, 3}, _to_ whare, _but not
in_ 29^2, _where_ for _also_==where.
=C.=
“The editor can trace the air and ballad here given as far back as
1775, through an aged relative who died in 1842 in her eightieth
year, and who had it from her mother.” _Christie neither professed
nor practised a rigid fidelity to texts, and this copy, at best not a
valuable one, is given for the little it may be worth._
1
O yonder he stands, and there he gangs,
The weary heir o Linne,
Yonder he stands on the cauld causey,
And nane bids him come in.
2
But it fell ance upon a day
The sheets were laid in fauld,
And poor Willie found he had nae friends,
And it was wondrous cauld.
3
‘Oh, one sheave o your bread, nourice,
And one glass o your wine,
And I will pay you oer again
When I am laird o Linne.’
4
‘Oh, one sheave o my bread, Willie,
And one glass o my wine,
But the seas will be dry ere ye pay me again,
For ye’ll never be laird o Linne.’
5
But he mind’t him up, and he mind’t him down,
And he mind’t him oer again,
And he mind’t him on a little wee key
That his mother gae to him.
6
He did him to the house o Linne,
He sought it up and down,
And there he found a little wee door,
And the key gaed slippin in.
7
And he got gowd, and he got gear,
He got gowd stord within,
And he got gowd, and he got gear,
Thrice worth the lands o Linne.
8
He did him to the tavern straight,
Where nobles were drinking therein;
The greatest noble among them a’
Was near to Willie o kin.
9
And some of them bade him fish to eat,
And some of them bade him a fin,
And some of them bade him nothing at a’,
For he’d never be father’s son.
10
But out it spake an aged knicht,
And vow but he spake slie!
‘I’ll sell you your father’s land back again
All for the third pennie.’
11
‘I take witness upon you here,’ he says,
‘I take witness upon thee,
That you will sell me my father’s land again
All for the third pennie.’
12
Then he took out a little wee coffer,
And he set it on his knee,
And he told the goud down on the table roun,
Says, Tak up your third pennie.
13
‘Come ben, come ben, my good nourice,
I’ll pay you when you come ben;
For the seas are not dry, and I’ll pay you back again,
For I’m again the laird o Linne.’
14
Poor Willie that night at eight o’clock
Had his stockings abeen his sheen,
But ere the morrow at twelve o’clock
He was convoyd by lords sixteen.
APPENDIX
(From a Broadside among Percy’s Papers.)
THE DRUNKARD’S LEGACY
IN THREE PARTS
Part I
1
Young people all I pray draw near,
And listen to my ditty here,
Which subject shews that drunkenness
Brings many mortals to distress.
2
As for example now I can
Tell you of one, a gentleman,
Who had a very good estate;
His earthly travels they were great.
3
We understand he had a son
Who a lewd wicked race did run;
He daily spent his father’s store,
When moneyless he came for more.
4
The father oftentimes with tears
Would sound this alarm in his ears:
‘Son, thou dost all thy comforts blast,
And thou wilt come to want at last.’
5
The son these words did little mind;
To cards and dice he was inclind,
Feeding his drunken appetite
In taverns, which was his delight.
6
The father, ere it was too late,
He had a project in his pate,
Before his aged days were gone
To make provision for his son.
7
Near to his house, we understand,
He had a waste plat of land,
Which did but little profit yield,
On which he had a cottage built.
8
‘The Wise-Man’s Project’ was its name;
There was few windows in the same;
Only one door, substanti[a]l thing,
Shut by a lock went by a spring.
9
Soon after he had playd this trick,
It was his lot for to fall sick;
As on his bed he did lament,
Then for his drunken son he sent.
10
Who, sent for, came to his bed-side;
Seeing his son, he then reply’d,
‘I sent for you to make my will,
Which do you faithfully fulfil.
11
‘To such one cottage is one door;
Neer open it, do thou be sure,
Until thou art so poor that all
Do then despise you, great and small.
12
‘For to my grief I do perceive
When I am dead this life you live
Will soon melt all thou hast away:
Do not forget these words, I pray.
13
‘When thou hast made thy friends thy foes,
Pawnd all thy lands, and sold thy cloaths,
Break ope the door, and there depend
To find something thy grief to end.’
14
Thus being spoke, the son did say,
Your dying words I will obey;
Soon after this his father dear
Did die and buried was, we hear.
Part II
15
Now pray observe the second part,
And you shall hear his sottish heart:
He did in taverns so frequent
Till he three hundred pounds had spent.
16
This being done, we understand
He pawnd the deeds of all his land
Unto a tavern-keeper, who
When poor did him no favour shew.
17
For to fulfil his father’s will
He did command this cottage still;
At length great sorrow was his share,
Quite moneyless, with garments bare.
18
Being not able for to work,
He in the tavern there did lurk,
From box to box, among rich men,
Who often times revil’d him then.
19
To see him sneak so up and down,
The vintner on him he did frown,
And one night kickd him out of door,
Charging him to come there no more.
20
He in a stall did lie all night,
In this most sad and w[r]etched plight;
Then thought it was high time for he
His father’s legacy to see.
21
Next morning, then, opprest with woe,
This young man got an iron crow,
And, as in tears he did lament,
Unto this little cottage went.
22
When he this door had open got,
This poor distressëd drunken sot,
Who did for store of money hope,
He saw a gibbet and a rope.
23
Under this rope was plac’d a stool,
Which made him look much like a fool,
Crying, Alas, what shall I do!
Destruction now appears in view.
24
‘As my father foresaw this thing,
What sottishness to me would bring,
As moneyless and free of grace,
This legacy I will embrace.’
25
So then, opprest with discontent,
Upon the stool he sighing went,
And then, his precious life to check,
Did place this rope about his neck.
26
Crying, Thou God, who sittst on high,
Who on my sorrows hast an eye,
But thou knowst I have not done well,
Preserve my precious soul from hell.
27
‘’Tis true the slighting of thy grace
Brought me to this most wretched case,
And as thro folly I’m undone,
I’ll now eclipse my morning sun.’
28
When he with sigh had these words spoke,
Jumpt off, and down the gibbet broke;
In falling, as it plain appears,
Droppd down about this young man’s ears,
29
In shining gold, a thousand pound,
Which made the blood his ears surround:
Tho in amaze, he cry’d, I’m sure
This golden salve will heal the sore.
30
‘Blest be my father,’ then he cry’d,
‘Who did this portion for me hide,
And while I do alive remain
I never will be drunk again.’
Part III
31
Now by [the] third part you will hear
This young man, as it does appear,
With care he then secur’d his chink,
And to this vintner went to drink.
32
When the proud vintner did him see,
He frownd on him immediately,
And said, Begone, or else with speed
I’ll kick thee out of doors indeed.
33
With smiles the young man he did say,
Thou cruel knave, tell me, I pray,
As I have here consum’d my store,
What makes thee kick me out of door?
34
To me thou hast been too severe;
The deeds of eight-score pounds a year
I pawnd them for three hundred pound;
Which I spent here; what makes thee frown?
35
The vintner said unto him, Sirrah,
Bring me one hundred pounds tomorrow
By nine o’clock, take them again:
So get you out of doors till then.
36
He answerd, If this chink I bring,
I fear thou wilt do no such thing;
He said, I’ll give under mine hand
A note that I to this will stand.
37
Having the note, away he goes,
And straightway went to one of those
Who made him drink when moneyless,
And did the truth to him confess.
38
They both went to this heap of gold,
Wherre in a bag he fairly told
A thousand pounds in yellow boys,
And to this tavern went their ways.
39
This bag they on the table set,
Which made the vintner for to fret,
And said, Young man, this will not do,
For I was but in jest with you.
40
So then bespoke this young man’s friend,
And [said], Vintner, thou mayst depend
In law this note it will you cast,
And he must have his land at last.
41
This made the vintner to comply,
Who fetchd the deeds immediately;
He had one hundred pounds, and then
The young man got his deeds again.
42
At length, the vintner, for to think
How he was foold out of his chink,
Said, When ’tis found how I came off
My neighbours will me game and scoff.
43
So, to prevent their game and laughter,
The vintner, in a few days after,
Being void of grace, as will appear,
He cut his throat from ear to ear.
44
Thus he untimely left the world,
Who to this young man prov’d a churl;
Now he who followd drunkenness
Lives sober and [does] his lands possess.
45
Instead of wasting all his store,
As formerly, resolves no more
To act the same, but does inde[e]d
Poor fatherless and mother- feed.
46
‘And let all young men, for my sake,
Take care how you such havock make,
For drunkenness, you plain may see,
Was near my ruin for to be.’
Printed and sold in Bow-Church-Yard, London.
FOOTNOTES:
[17] Cane in hand, 10^3, 22^3. This is bad enough, but not quite so bad
as the woman with cane in hand, ‘Tam Lin,’ III, 505, =O= 16^2, and ‘The
Kitchie-Boy,’ No 252, =E= 6^2. The mantle and cane are a commonplace.
See also =E= 14 of No 252, No 76, =G= 3, and No 97, =B= 20^2.
[18] The Gallowgate port of =B a= 35 belongs to Aberdeen.
[19] Of the 212 lines of Percy’s ballad, some 80, or the substance of
them, occur in the MS. copy, and half a dozen more of the 216 lines of
the 4th edition.
[20] Reprinted by Dixon, Ancient Poems, Ballads, etc., p. 151, Percy
Society, vol. xvii, from a chap-book.
[21] 44. Χρυσὸν ἀνὴρ εὑρὼν ἔλιπε βρόχον· αὐτὰρ ὁ χρυσὸν ὃν λίπεν οὐχ
εὑρὼν ἧψεν ὃν εὗρε βρόχον.
[22] All the above tales, except Pauli’s, have been cited, in one
connection or another, by Dunlop, History of Fiction, (II, 201, of
Wilson’s late edition); by Benfey, Pantschatantra, I, 97 f.; or by
Liebrecht, Göttingische Gelehrte Anzeigen, 1868, p. 1891. Oesterley,
in his note to Pauli, 16, p. 552 f., refers to three sixteenth-century
story-books which I have not seen. Robert, Fables Inédites, etc., II,
232, in his note to La Fontaine, IX, 16, refers to other fabulists.
Clouston, Popular Tales and Fictions, II, 55, gives from some old
magazine a story after the pattern of the Greek distich.
268
THE TWA KNIGHTS
Buchan’s Ballads of the North of Scotland, II, 271.
A knight and a squire, sworn brothers, have a talk about fair women.
’There’s nae gude women but nine,’ says the squire. ‘My luck is the
better,’ replies the knight, ‘that one of them is mine.’ The squire
undertakes to win the knight’s wife within six months, if the husband
will go over seas for that time; the knight is willing to give him
nine months. The knight’s lands are wagered (21) against the squire’s
life (23). As soon as the knight is at sea, the squire comes to the
lady with an offer of money. If you were not my lord’s brother, says
the lady, I would hang you on a pin before my door. The squire betakes
himself to his foster-mother, sets forth his case, and offers her a
heavy bribe for her aid. The false carline goes to the lady and opens
her business; the lady will never wrong her lord. The carline (who
is the wife’s foster-mother as well) now pretends concern about the
lady’s health, which is in danger for want of sleep. She turns all the
people out of the castle, lulls the dame to sleep, and introduces the
squire. He wakes the lady, and tells her that she is in his power. The
lady has presence of mind; it would, she says, be a sin to defile her
husband’s bed, but she will come to the squire’s bed at night. She
then offers her niece five hundred pounds to go to the squire in her
place. The young woman was never so much disposed to say nay, but goes,
notwithstanding. When the squire has had his will, he cuts off ‘her
ring but and her ring-finger.’ The maids come from the hay, the young
men from the corn, and the lady tells them all that has passed. She
will tie her finger in the dark, and hopes to loose it in the light.
The knight returns, and is greeted by the squire as a landless lord.
The ring and ring-finger are exhibited in proof. Thereupon the knight
gives a dinner, to which he asks the squire and his wife’s parents.
He throws his charters across the table and bids his wife farewell
forever. It is now time for the lady to loose in the light the finger
which she had tied in the dark. Come here, my lord, she says. No smith
can join a finger. My niece ‘beguiled the squire for me.’ They lay
before the niece a sword and a ring, and she is to have her choice, to
stick the squire with the sword, or to wed him with the ring. Thrice
she puts out her hand as if to take the sword, but she ends with taking
up the ring.
This ballad can have had no currency in Scotland, and perhaps was known
only through print. A similar one is strictly traditional in Greece,
and widely dispersed, both on the mainland and among the islands.
=Romaic.= =A.= Νεοελληνικὰ’ Ανάλεκτα, I, 80, No 16, 75 vv., Melos.
=B.= ‘Τὸ στοίχημα τοῦ βασιλιᾶ καὶ τοῦ Μαυριανοῦ,’ Jeannaraki, p. 231,
No 294, 76 vv., Crete. =C.= ‘Ὁ Μαυριανὸς καὶ ὁ βασιλεύς,’ Zampelios,
p. 719, No 6, 61 vv., Corcyra (?); repeated in Passow, p. 355, No 474,
Kind’s Anthologie, p. 56. =D.= ‘Τοῦ Μαυριανοπούλου,’ Manousos, II, 56,
51 vv., Corcyra (?). =E.= ‘Ὁ Μαυριανὸς κ’ ὁ βασιλεᾶς,’ Pappadopoulos
in Πανδώρα, XV, 417, 23 vv., Cargese, Corsica; repeated in Legrand,
p. 302, No 136. =F.= Δελτίον τῆς ἱστορικῆς καὶ ἐθνολογικῆς ἑταιρίας
τής Ἑλλάδος, I, 551, No 5, 35 vv., Peloponnesus. =G.= ‘Ὁ Σταυριανὸς
καὶ ὁ βασιλιᾶς,’ Melandrakes, in the same, III, 345, 54 vv., Patmos.
=H.= ‘Τὸ Στοίχημα,’ Kanellakes, Χιακά ἀλάεκτα, p. 8, No 5, 50 vv.,
Chios. =I a.= Bartholdy, Bruchstücke zur nähern Kenntniss des heutigen
Griechenlands, 1805, p. 434, 78 vv., translation without text. =b.=
‘Maurogène,’ Lemercier, I, 167, translation without text, neighborhood
of Arta. =J.= ‘Στοίχημα Διονῦ καὶ Χαντσαρλῆ,’ Chasiotes, p. 142, No 14,
26 vv., Epirus.
The personages are Μαυριανός, =B-E=, Μαυγιανός, =A=, Mavrogeni, =I=,
Σταυριανός, =G=, Γιάννος, =F=, Κωσταντῆς, =H=; his sister, =A-I=,
Αρετή;, =D=, Μάρω, =F=, Λιερή, =G=, and in =I b= (unless the name is
supplied by the editor), Cymodore; a king, anonymous except in =J=,
Διονύς, in which also the other two parties are husband (ὁ χαντσιαρλῆς,
the chancellor) and wife.
At the king’s table there is talk of women fair or foul. Maurianos
extols his sister (the chancellor his wife, =I=), whom gifts cannot
seduce. What shall be your forfeit, asks the king, if I seduce her?
Maurianos stakes his head, =A-I=, and the girl is to be the king’s
slave, =H=; the king, his kingdom and crown, =A=, =B=, his property,
=C=, =F=. There is a mutual wager of nine towers of silver, =J=. The
young man is to be a prisoner till the morning, =I=. The king begins,
in =A=, =B=, by engaging the services of witches eighteen, witches
fifteen, or bawds eighteen, witches fifteen. They ply their magic early
and late: forty days to get up her stair, other four-and-forty to get
sight of the girl, =A=. They address her with flatteries, but are
rebuffed, =A=, =B=. The king sends rich presents, =A=, =C-I=; beasts
laden with silver and money, nine, twelve, twenty and again ten. The
girl receives them with professions of pleasure; her brother will
return the compliment to the giver. It is explained that no return is
looked for; the presents are from the king, who desires to pass the
night with her. (In =J= the king goes straight to the wife, and says
that he has her husband’s permission.) The lady affects to put herself
at the king’s disposition. She appeals to her maid-servants, =A=, =B=;
first her “nurses,” then her maids, =C=; one servant, and then another,
=H=. Which of them will enable her to keep her word, change clothes
with her, and pass the night with the king? Only Maria, the youngest of
all (of forty, =B=), is willing to stead her mistress in this strait,
=A-C=. In =D-G=, =I=, =J=, there is but one nurse or servant, and she
assents, or follows her mistress’s directions as a matter of course.
The servant is to have the king’s present in =D=. The substitute is
elaborately combed and dressed, with a gold band round her hair, and
a beautiful ring on her finger. At midnight, or before dawn, the king
cuts off the finger that has the ring, =A=, =I=, her finger, =B=, =F=,
=G=, =H= (fingers, =B=, v. 43), little finger, =D=, =E=; takes the ring
from her finger, =C=, all the rings from her fingers, =J=. He also cuts
off her hair (braid), with its golden band, =B= (braids, v. 43), =C=,
=I=, her hair (braid), with the golden flowers, =A=, with the pearl,
=H=, right braid, =D=, braid, =F=, =G=, =I=, extremity of her braid,
=E=. These are to serve as tokens; he puts them in his handkerchief,
=A=, =D=. He takes his trophies to the assembly. Maurianos has lost
his wager, and is to be hanged. Where is Maurianos, the braggart, and
where his precious sister, whom no gifts could seduce? Word comes to
the sister. She dresses herself beautifully, and makes her way into the
assembly; she would fain know why they are to hang Maurianos. ‘I have
seduced his sister,’ says the king, ‘and I will hang Maurianos.’ The
girl demands tokens. ‘I cut off her finger, with the golden sapphire;
I cut off her hair, with the golden flowers (band).’ She extends her
hand; the earth is filled with sapphires. ‘See, lords! are fingers
of mine wanting?’ She flings out her hair; the earth is filled with
flowers. ‘See, lords! is a braid of mine wanting?’ (=A=, =B=, and the
rest to the same effect.) Then she turns to the king. ‘It fits you no
more to play the king,’ =A=, =B=. ‘You have slept with my slave, and
my slave you shall be,’ =C-I=. ‘Take my mule and go fetch wood.’ In
=A=, =B=, the king has to marry Maria. In =F=, John becomes king (as a
consequence of winning the wager). In =I=, the people depose the king
and make Maurianos’s sister queen.
There are numerous tales in which a man wagers heavily upon a woman’s
(generally his wife’s) constancy, and, upon plausible evidence, which
in the end proves to be nugatory, is adjudged to have lost.[23] We are
concerned only with a small section of these stories, characterized
by the circumstances that the woman whose virtue is questioned puts
another woman in her place in the encounter with the assailant, and
that the proofs of success offered are a finger, finger-ring, and head,
or braid, of hair[24] (one of these, or more).
A rhymed tale of the thirteenth century, ‘Von zwein Kaufmannen,’ by
Ruprecht von Würzburg,[25] has the following story, evidently French
by origin. Bertram, a merchant of Verdun, who has been happily married
for ten years, is required in the course of business to go to a fair at
Provins. While he is sitting at table in an inn with other merchants,
Hogier, the host, sets his guests to talking of their wives, and three
of them give a very bad account of their domestic experiences. Bertram,
when urged to take his turn, professes himself the most fortunate
of men, for his wife (Irmengard) is, for beauty, sense, modesty,
manners, the flower of womankind. The host declares that the man is
mad, and offers to stake all his goods against Bertram’s that he will
seduce this peerless wife within six months. The wager is accepted,
and Bertram, to afford an opportunity, sends his wife word that he
shall be gone from home longer than he had intended. Hogier goes to
Verdun and takes a lodging opposite to Bertram’s house. He begins with
presents and messages to Irmengard; she treats these with contempt,
and threatens to make a complaint to her friends. He gives bounties
to the servants, who sing his praises to their mistress till they are
told that they will be thrashed if they continue. He then gives a pound
to Irmengard’s favorite maid, Amelin, and commissions her to offer
a hundred mark if he may have his will; and the wife proving to be
both firm and indignant, he raises his offer to two hundred mark, and
finally to a thousand for one night. Not only the maid, but Irmengard’s
own father and her husband’s father, to whom she successively appeals,
urge her to take this large sum, and assure her that she will incur her
husband’s resentment if she does not. A way out of her difficulties now
occurs to her (which the author of the poem represents as an express
suggestion from God). She asks the maid if she will give Hogier a
night for the consideration of a hundred mark; Amelin is ready so to
do for half the money. Hogier is told to pay in his thousand, and an
appointment is made. Irmengard receives him in Amelin’s garb, and
Amelin in Irmengard’s. In the morning Hogier asks for some jewel as
a keepsake, and the maid having nothing to give him, he cuts off one
of her fingers. He now calls upon Bertram to pay his forfeit. Bertram
has some doubt whether he has not been tricked. It is mutually agreed
that the matter shall be settled at a banquet which Bertram is to
give at Verdun. Bertram, upon his return home, cannot conceal a deep
depression. His wife asks him the cause, and he opens his mind to her;
she bids him be of good cheer, for all Hogier’s goods are theirs.
At the banquet Hogier states his case, and produces the finger in
confirmation of his claim. Irmengard, asked what answer she has to
make, humorously replies that she is sorry for her misbehavior, but
all her friends, there present, had advised her to commit it. She then
shows her hands, both unmarred. Amelin comes in and complains of the
treatment she has received. Hogier owns that he has lost, and desires
to become Bertram’s ‘poor man.’ Amelin is given him as wife, with her
hundred mark for a dowry. Here we have wager, substitution, finger cut
off, as in the Scottish ballad and most of the Romaic versions, and the
loser marries the maid, as in the Scottish ballad and Romaic =A=, =B=.
The Mabinogi of Taliesin, “in its present form not older than the
thirteenth century,” has the incidents of the substitution of the
maid-servant, the finger and finger-ring, with the modification that
the wife’s general high character, and not simply her continence, is
impugned and vindicated.
At a Christmas feast in the palace of King Maelgwn, the company were
discoursing of the unequalled felicity of the king, upon whom heaven
had bestowed, with every other good gift, a queen whose virtues
exceeded those of all the noble ladies in the kingdom. Elphin,
Maelgwn’s nephew, said, None but a king may vie with a king; otherwise
he would say that his own wife was as virtuous as any lady in the
kingdom. Maelgwn was not there to hear this boast, but it was duly
reported to him, and he ordered Elphin to be thrown into prison,
pending a test of Elphin’s wife which he deputed his graceless son,
Rhun, to make. Taliesin, Elphin’s bard, warned the lady that Rhun
would try to put some disgrace upon her, and advised that one of the
servants should personate her mistress when Rhun came to the house.
Accordingly, a kitchen-maid was dressed up in her mistress’s clothes,
and was seated at the supper-table, her hands loaded with rings. Rhun
made his appearance and was welcomed by the disguised menial. He fell
to jesting with her, put a powder into her drink, which cast her into
a sound sleep, and cut off her little finger, on which was Elphin’s
signet-ring. The king assembled his councillors, had Elphin brought in
from prison, and showed him the finger, which (so Rhun had averred)
had been cut from his wife’s hand the preceding night, while she was
sunk in a drunken sleep. Elphin could not deny that the ring was his,
but he gave three incontrovertible reasons why the finger could not
be his wife’s, one of these being that the ring was too large to stay
on his wife’s thumb, yet too small to go over the joint of the little
finger of the hand from which it had been cut; and the fact was put
beyond question by Taliesin’s afterwards bringing in Elphin’s wife at a
state-dinner, and displaying her unmutilated hand.[26]
A lively play of Jakob Ayrer’s (about 1600) has the wager, the
substitution, the ring offered in evidence (as in Romaic =C=, =G=), the
marriage with the maid.
Claudius, master of the hunt to the Prince of Calabria, on the eve
of his departure on a voyage, is heard by two courtiers, Leipolt and
Seübolt, soliloquizing on the excellences of his wife, Frigia, her
housekeeping, virtue, and love for him. They wager all their goods
against his that they will bring the woman to do their will. One
undertakes to present her wedding-ring, the other her necklace, in
proof of the achievement. Leipolt and Seübolt, always acting severally,
attempt to buy the services of Jahn Türck, a quick-witted and loyal
servant of Claudius. He tells everything to his mistress, and by his
advice she dresses two of her maids in her clothes and lets them meet
the men, warning them to keep within bounds. Leipolt and Seübolt,
each finding the supposed lady coy, are content to secure the means
of winning their wager, and, by Frigia’s connivance (who, it seems,
had come to knowledge of the wager through Jahn), one of them receives
her ring, the other her necklace, as pretended love-tokens. Claudius
comes home. Leipolt informs the prince of the wager, and asks Claudius
whether he knows the ring and will pay; Seübolt brings out the
necklace. Claudius gives all for lost. The prince sends for Frigia. She
challenges the courtiers to say that she has misbehaved with them. They
own that they have never laid eyes on her, but they recognize the maids
when they are brought in, still in their mistress’s clothes. Frigia
explains in detail. The prince addresses his councillors (for such they
are) in terms of exemplary severity, and adjudges them to marry the
maids, making over one third of their property to these and another to
Claudius, or to lose their heads. (Compare the Scottish ballad at the
end.) They prefer to keep their heads.[27]
A Danish ballad, very popular in the sixteenth and seventeenth
centuries, has the wager (only on the part of the assailant), but the
story takes a different turn from the foregoing, for the irresistible
knight has simply a conversation with the lady, in which he meets with
a definitive repulse.
‘Væddemaalet,’ ‘Herr Lave og Herr Iver Blaa,’ Grundtvig, IV, 302, No
224, =A-L=, Kristensen, I, 319, No 118, X, 137, No 36; Prior, III, 28,
No 104. Lange (Lave) and Peder (Iver) sit at the board talking of wives
and fair maids. Peder asserts that the maid lives not in the world whom
he cannot cajole with a word. Lange knows the maid so virtuous that
neither words nor gold can beguile. Peder wagers life (gold, goods,
house, land) and neck (halsbane) that she shall be his by the morrow.
He rides straightway to Ingelil, Thorlof’s daughter, and makes love to
her in honorable phrase. Ingelil reminds him of two ladies who have
received the same professions from him and been betrayed. If she will
be his dear, every finger shall wear the red gold: her father has nine
gold rings, and would give them all to her if she wished. If she will
be his, she shall have a train of servants, out and in: she is not halt
or blind, and can go out and in by herself. If he cannot have his will
with her, it will cost him his white halsbane: much better so than that
he should cheat her, or any honorable maid. Peder rides away sorrowful,
for lost is gold and his white halsbane besides.[28] We have already
had the Scottish counterpart of this ballad, with variations for better
or worse, in ‘Redesdale and Wise William,’ IV, 383, No 246, =A-C=.
* * * * *
1
There were twa knights in fair Scotland,
And they were brothers sworn;
They made a vow to be as true
As if they’d been brothers born.
2
The one he was a wealthy knight,
Had lands and buildings free;
The other was a young hynde squire,
In rank of lower degree.
3
But it fell ance upon a day
These squires they walkd alone,
And to each other they did talk
About the fair women.
4
‘O wed a may,’ the knight did say,
‘For your credit and fame;
Lay never your love on lemanry,
Bring nae gude woman to shame.’
5
‘There’s nae gude women,’ the squire did say,
‘Into this place but nine;’
‘O well falls me,’ the knight replied,
‘For ane o them is mine.’
6
‘Ye say your lady’s a gude woman,
But I say she is nane;
I think that I could gain her love
Ere six months they are gane.
7
‘If ye will gang six months away,
And sail upon the faem,
Then I will gain your lady’s love
Before that ye come hame.’
8
‘O I’ll gang till a far countrie,
And far beyond the faem,
And ye winna gain my lady’s love
Whan nine lang months are gane.’
9
When the evening sun did set,
And day came to an end,
In then came the lady’s gude lord,
Just in at yon town’s end.
10
‘O comely are ye, my lady gay,
Sae fair and rare to see;
I wish whan I am gane away
Ye keep your mind to me.’
11
She gae ’m a bason to wash in,
It shin’d thro a’ the ha;
But aye as she gaed but and ben
She loot the saut tears fa.
12
‘I wonder what ails my gude lord
He has sic jealousie;
Never when we parted before,
He spak sic words to me.’
13
When cocks did craw, and day did daw,
This knight was fair at sea;
Then in it came the young hynde squire,
To work him villanie.
14
‘I hae a coffer o gude red gowd,
Another o white monie;
I woud gie you ’t a’, my gay lady,
To lye this night wi me.’
15
‘If ye warna my lord’s brother,
And him sae far frae hame,
Even before my ain bower-door
I’d gar hang you on a pin.’
16
He’s gane frae the lady’s bower,
Wi the saut tear in his ee,
And he is to his foster-mother
As fast as gang coud he.
17
‘There is a fancy in my head
That I’ll reveal to thee,
And your assistance I will crave
If ye will grant it me.
18
‘I’ve fifty guineas in my pocket,
I’ve fifty o them and three,
And if ye’ll grant what I request
Ye’se hae them for your fee.’
19
‘Speak on, speak on, ye gude hynde squire,
What may your asking be?
I kenna wha woud be sae base
As nae serve for sic a fee.’
20
‘O I hae wagerd wi my brother,
When he went to the faem,
That I woud gain his lady’s love
Ere six months they were gane.
21
‘To me he laid his lands at stake
Tho he were on the faem,
I wudna gain his lady’s love
Whan nine lang months were gane.
22
‘Now I hae tried to gain her love,
But finds it winna do;
And here I’m come, as ye her know,
To seek some help frae you.
23
‘For I did lay my life at stake,
Whan my brother went frae hame,
That I woud gain his lady’s love
Whan he was on the faem.’
24
But when the evening sun was set,
And day came to an end,
In it came that fause carline,
Just in at yon town’s end.
25
‘O comely are ye, my gay lady,
Your lord is on the faem;
Yon unco squire will gain your love,
Before that he come hame.’
26
‘Forbid it,’ said the lady fair,
‘That eer the like shoud be,
That I woud wrang my ain gude lord,
And him sae far at sea.’
27
‘O comely are ye, my gay lady,
Stately is your fair bodie;
Your lovely visage is far chang’d,
That is best known to me.
28
‘You’re sair dune out for want o sleep
Sin your lord went to sea;
Unless that ye do cease your grief,
It will your ruin be.
29
‘You’ll send your maids unto the hay,
Your young men unto the corn;
I’ll gar ye sleep as soun a sleep
As the night that ye were born.’
30
She sent her maids to ted the hay,
Her men to shear the corn,
And she gard her sleep as soun a sleep
As the night that she was born.
31
She rowd that lady in the silk,
Laid her on holland sheets;
Wi fine enchanting melodie,
She lulld her fast asleep.
32
She lockd the yetts o that castle
Wi thirty locks and three,
Then went to meet the young hynde squire
To him the keys gae she.
33
He’s opend the locks o that castle,
Were thirty and were three,
And he’s gane where that lady lay,
And thus to her said he.
34
‘O wake, O wake, ye gay lady,
O wake and speak to me;
I hae it fully in my power
To come to bed to thee.’
35
‘For to defile my husband’s bed,
I woud think that a sin;
As soon as this lang day is gane,
Then I shall come to thine.’
36
Then she has calld her niece Maisry,
Says, An asking ye’ll grant me,
For to gang to yon unco squire
And sleep this night for me.
37
‘The gude red gowd shall be your hire,
And siller’s be your fee;
Five hundred pounds o pennies round,
Your tocher it shall be.’
38
She turnd her right and round about,
And thus to her did say;
O there was never a time on earth
So fain’s I woud say nay.
39
But when the evening sun was set,
And day drawn to an end,
Then Lady Maisry she is gane,
Fair out at yon town-end.
40
Then she is to yon hynde squire’s yates,
And tirled at the pin;
Wha was sae busy as the hynde squire
To lat that lady in!
41
He’s taen her in his arms twa,
He was a joyfu man;
He neither bade her meat nor drink,
But to the bed he ran.
42
When he had got his will o her,
His will as he lang sought,
Her ring but and her ring-finger
Away frae her he brought.
43
With discontent straight home she went,
And thus lamented she;
Says, Wae be to yon young hynde squire!
Sae ill as he’s used me.
44
When the maids came frae the hay,
The young men frae the corn,
Ben it came that lady gay,
Who thought lang for their return.
45
‘Where hae ye been, my maidens a’,
Sae far awa frae me?
My foster-mother and lord’s brother
Thought to hae beguiled me.
46
‘Had not she been my foster-mother,
I suckd at her breast-bane,
Even before my ain bower-door,
She in a gleed shoud burn.
47
‘The squire he thought to gain my love,
He’s got but Lady Maisry;
He’s cutted her ring and her ring-finger,
A love-token for to be.
48
‘I’ll tie my finger in the dark,
Where nae ane shall me see;
I hope to loose it in the light,
Amang gude companie.’
49
When night was gane, and birds did sing,
And day began to peep,
The hynde squire walkd alang the shore,
His brother for to meet.
50
‘Ye are welcome, welcome, landless lord,
To my ha’s and my bowers;
Ye are welcome hame, ye landless lord,
To my lady white like flowers.’
51
‘Ye say I am a landless lord,
But I think I am nane,
Without ye show some love-token
Awa frae her ye’ve tane.’
52
He drew the strings then o his purse,
And they were a’ bludie;
The ring but and the ring-finger
Sae soon as he lat him see.
53
‘O wae be to you, fause hynde squire,
Ane ill death mat ye dee!
It was too sair a love-token
To take frae my ladie.
54
‘But ae asking of you, hynde squire,
In your won bowers to dine;’
‘With a’ my heart, my brother dear,
Tho ye had asked nine.’
55
Then he is to his lady’s father,
And a sorrow man was he:
‘O judge, O judge, my father dear,
This judgment pass for me.
56
‘What is the thing that shoud be done
Unto that gay lady
Who woud gar her lord gae landless,
And children bastards to be?’
57
‘She shoud be brunt upon a hill,
Or hangd upon a tree,
That woud gar her lord gang landless,
And children bastards be.’
58
‘Your judgment is too rash, father;
Your ain daughter is she
That this day has made me landless;
Your squire gaind it frae me.
59
‘Yet nevertheless, my parents dear,
Ae favour ye’ll grant me,
And gang alang to my lost ha’s,
And take your dine wi me.’
60
He threw the charters ower the table,
And kissd the yates o tree;
Says, Fare ye well, my lady gay,
Your face I’ll never see.
61
Then his lady calld out to him,
Come here, my lord, and dine;
There’s nae a smith in a’ the land
That can ae finger join.
62
‘I tied my finger in the dark,
Whan nae ane did me see;
But now I’ll loose it in the light,
Amang gude companie.
63
‘Even my niece, Lady Maisry,
The same woman was she;
The gude red gowd shall be her hire,
And likeways white monie.
64
‘Five hundred pounds o pennies round
Her tocher then shall be,
Because she did my wills obey,
Beguild the squire for me.’
65
Then they did call this young hynde squire
To come right speedilie,
Likeways they calld young Lady Maisry,
To pay her down her fee.
66
Then they laid down to Lady Maisry
The brand but and the ring;
It was to stick him wi the brand,
Or wed him wi the ring.
67
Thrice she minted to the brand,
But she took up the ring;
And a’ the ladies who heard o it
Said she was a wise woman.
FOOTNOTES:
[23] The cutting off the hair from a woman substituted occurs in
the fabliau ‘Des Tresces,’ Barbazan et Méon, IV, 393, Montaiglon et
Raynaud, IV, 67, and Méon, Nouveau Recueil, I, 343, Montaiglon et
Raynaud, V, 132 (a different version); Boccaccio, Decameron, VII, 8;
‘Der verkêrte Wirt,’ von der Hagen’s Gesammtabenteuer, II, 337, No 43:
all varieties of one story. See also ‘Der Reiger,’ p. 157 of the same
volume of von der Hagen, No 31, and the literary history of No 43, at
p. XLII.--Bédier, Les Fabliaux, p. 149 ff., refers to several other
examples.
[24] The more important of the stories which lack the distinctive
traits of the Scottish and Romaic ballads are: Roman de la Violette,
thirteenth century (ed. Michel, 1834); Roman du Comte de Poitiers,
thirteenth century (ed. Michel, 1831); Li Contes du Roi Flore et de la
bielle Jehane, thirteenth century, Moland et d’Héricault, 1856, p. 85,
and Monmerqué et Michel, Théâtre Français au Moyen Age, 1842, p. 417;
Miracle de Nostre Dame, Conment Ostes, roy d’Espaingne, perdi sa terre
par gagier contre Berengier, etc., Monmerqué et Michel, as before,
p. 431, and Miracles de Nostre Dame, G. Paris et U. Robert, IV, 319;
an episode in Perceforest, vol. iv, cc. 16, 17, retold by Bandello,
Part I, Nov. 21 (R. Köhler, in Jahrbuch für Rom. u. Eng. Lit., VIII,
51 ff.); the story of Bernabò da Genova da Ambruogiuolo ingannato,
Boccaccio, Decameron, II, 9, repeated in Shakspere’s Cymbeline and
many other pieces. Popular tales with the wager are: Campbell, West
Highlands, II, 1, No 18; J. W. Wolf’s Deutsche Hausmärchen, p. 355;
Simrock, Deutsche Märchen, p. 235 (ed. 1864), No 51; Pröhle, Kinder-
und Volksmärchen, No 61, p. 179 (see also p. XLII); Das Ausland,
1856, p. 1053, Roumanian; Miklosich, Märchen u. Lieder der Zigeuner
der Bukowina, p. 49, No 14; Bernoni, Fiabe veneziane, p. 1, No 1;
Gonzenbach, I, 38, No 7; Pitrè, Fiabe, Novelle e Racconti siciliani,
II, 142, 165, Nos 73, 75; Imbriani, Novellaja fiorentina, p. 483.
(Some of these have been cited by Köhler, some by Landau.) See, in
general, the Grimms, Altdeutsche Wälder, I, 35 ff., II, 181 f.; von
der Hagen’s Gesammtabenteuer, introduction to No LXVIII, especially
III, XCI-CIX; R. Köhler, as above, and in Orient u. Occident, II, 315;
Landau, Quellen des Dekameron, 1884, p. 135 ff.; R. Ohle, Shakespeares
Cymbeline und seine romanischen Vorläufer, Berlin, 1890.
[25] Altdeutsche Wälder, I, 35; von der Hagen, Gesammtabenteuer, III,
357.
[26] Lady Charlotte Guest’s Mabinogion, Part VII, pp. 364-83, or p. 477
ff. of the edition of 1877; an abstract in E. Jones’s Bardic Museum, p.
19.
[27] Ayrers Dramen, herausgegeben von A. von Keller, IV, 2279, No 30;
Comedia von zweyen fürstlichen räthen die alle beede umb eines gewetts
willen umb ein weib bulten, u. s. w.
[28] There is another Danish ballad in which two knights wager on a
maid’s fidelity, but it is of entirely different tenor, the maid being
lured by a magical horn: ‘Ridderens Runeslag,’ Grundtvig, II, 285, No
73, =A-B=, ‘Ridder Oles Lud,’ Kristensen, II, 108, 353, No 34, =A-C=;
Prior, III, 34, No 105.
269
LADY DIAMOND
=A.= ‘Lady Daisy,’ Aytoun’s Ballads of Scotland, II, 173, 1859.
=B.= ‘Lady Dayisie,’ from an old lady’s collection formerly in
possession of Sir Walter Scott,[29] now belonging to Mr Macmath,
Edinburgh.
=C.= Sharpe’s Ballad Book, p. 12, 1823.
=D.= ‘Lady Diamond,’ Buchan’s MSS, II, 164; ‘Lady Diamond, the King’s
Daughter,’ Buchan’s Ballads of the North of Scotland, II, 206; ‘Ladye
Diamond,’ Dixon, Scottish Traditional Versions of Ancient Ballads, p.
71, Percy Society, vol. xvii.
=E.= ‘Robin, the Kitchie-Boy,’ Joseph Robertson, “Adversaria,” p. 66.
Diamond (Daisy, Dysmal, Dysie), only daughter of a great king, is with
child by a very bonny kitchen-boy. The base-born paramour is put to
death, and, by the king’s order, his heart is taken to the princess in
a cup of gold. She washes it with the tears which run into the cup,
=A=, =B=, =C=, and dies of her grief. Her father has a sharp remorse,
=A=, =C=; his daughter’s shame looks pardonable, when he considers the
beauty of the man he has slain, =A=.
=B= is blended with ‘Willie o Winsbury,’ No 100; cf. =B= 4-9, and No
100, =A= 2-7, =B= 1-5, etc. In ‘Willie o Winsbury’, =B=, the princess’s
name is Dysmill. =A= 12, =B= 11 of ‘Lady Diamond’ also recall ‘Willie o
Winsbury.’
In =C=, =D=, the kitchen-boy is smothered between two feather-beds.
Isbel was the princess’s name in a copy obtained by Motherwell, but not
preserved. Motherwell’s Note-Book, p. 7; C. K. Sharpe’s Correspondence,
II, 328.
The ballad is one of a large number of repetitions of Boccaccio’s tale
of Guiscardo and Ghismonda, Decamerone, IV, 1. This tale was translated
in Painter’s Palace of Pleasure, 1566 (ed. Jacobs, I, 180), and became
the foundation of various English poems and plays.[30] Very probably it
was circulated in a chap-book edition in Great Britain, as it was in
Germany (Simrock, Volksbücher, VI, 153).
Prince Tancredi has an only daughter (cf. =A=, =B=, =C=, 1), whose
name is Ghismonda (Diamond, =C=, Dysmal, =B=, Dysie, =D=, Daisy,
=A=). She has a secret amour with a young man of inferior condition
(valetto, di nazione assai umile; giovane di vilissima condizione,
says Tancredi), sunk in the ballad to the rank of kitchen-boy. This
young man, Guiscardo, is, however, distinguished for manners and fine
qualities; indeed, superior in these to all the nobles of the court.
In the ballad he is a very bonny boy (preferred to dukes and earls,
=B=, =C=). Guiscardo is strangled (or suffocated); the bonny boy is
smothered between two feather-beds in =B= 8, =C= 7. The bonny boy’s
heart is cut out and sent to the king’s daughter in a cup of gold, in
the ballad; she washes it with the tears that run from her eyes into
the cup. Ghismonda, receiving Guiscardo’s heart in a gold cup, sheds a
torrent of tears over it, pours a decoction of poisonous herbs into the
cup (ove il cuore era da molte delle sue lagrime lavato), and drinks
all off, then lies down on her bed and awaits her death. Tancredi,
repenting too late of his cruelty, has the pair buried with honors in
one tomb.[31]
=Italian. A.= ‘Il padre crudele,’ Widter und Wolf, Volkslieder aus
Venetien, p. 72, No 93. A king has an only daughter, Germonia. She
has twelve servants to wait upon her, and other twelve to take her
to school, and she falls in love with the handsomest, Rizzardo.
They talk together, and this is reported to the king by Rizzardo’s
fellow-servants. The king shuts Rizzardo up in a room, bandages his
eyes, cuts his heart out, puts it in a gold basin, and carries it
to his daughter. ‘Take this basin,’ he says; ‘take this fine mess,
Rizzardo’s heart is in it.’ Germonia reproaches him for his cruelty; he
tells her, if he has done her an offence, to take a knife and do him
another. She does not care to do this; however, if he were abed, she
would. In a variant, she goes out to a meadow, and ‘poisons herself
with her own hands.’
=B.= ‘Flavia,’ Sabatini, Saggio di Canti popolari romani, in Rivista di
Letteratura popolare, Rome, 1877, p. 17 f., and separately, 1878, p. 8
f. Flavia has thirteen servants, and becomes enamored of one of these,
Ggismónno. His fellows find out that the pair have been communing,
and inform the king. ‘Ságra coróna’ orders them to take Ggismónno to
prison, and put him to death. They seat him in a chair of gold, and
dig out his heart, lay the heart in a basin of gold, and carry it to
Flavia, sitting at table, saying, Here is a mess for you. She retires
to her chamber, lies down on her bed, and drinks a cup of poison.
=C.= ‘Risguardo belo e Rismonda bela,’ Bernoni, Tradizioni pop.
veneziane, p. 39. A count has an only daughter, Rismonda. She has
twelve servants, and falls in love with the handsomest, who waits
at table,--the handsome Risguardo. She asks him to be her lover; he
cannot, for if her father should come to know of such a thing he would
put him to death in prison. The knowledge comes to the father, and
Risguardo is put into prison. One of his fellows looks him up after
a fortnight, and after a month cuts out his heart, and takes it to
Rismonda; ‘here is a fine dish, the heart of Risguardo.’ Rismonda, who
is sitting at table, goes to her chamber; her father comes to console
her; she bids him leave her. If I have done you wrong, he says, take
this sword and run it through me. She is not disposed to do this; she
will write three letters and die.
All these come from the Decameron, IV, 1. The lover is sunk to a
serving-man, as in the Scottish ballad. The names are fairly well
preserved in =A=, =C=; in =B= the lover gets his name from the
princess, and she is provided with one from the general stock.
=Swedish.= ‘Hertig Fröjdenborg och Fröken Adelin,’ broadside, 48
stanzas, Stockholm, 1757; Afzelius, I, 95, No 19, ed. Bergström och
Höijer, I, 81, No 18, 47 sts; Lagus, Nyländska Folkvisor, I, 30, No 8
=a=, 47 sts; Djurklou, Ur Nerikes Folkspråk, p. 96, 22 sts; Dybeck,
Runa, 1869, p. 34, 37 sts, of which only 8 are given; Lagus, as above,
=b=, 2 sts, =c=, 1 st.; Aminson, Bidrag, I, 1st heft, p. 31, No 6, 2d
heft, p. 16, 1 st. each; unprinted fragments, noted by Olrik, Danmarks
gamle Folkeviser, V, II, 216 f. The broadside is certainly the source
or basis of all the printed copies, and probably of an unpublished
fragment of twenty-eight stanzas obtained by Eva Wigström in 1882
(Olrik); some trifling variations are attributable to editing or to
tradition.
Adelin is in the garden, making a rose chaplet for Fröjdenborg, who,
seeing her from his window, goes to her and expresses the wish that
she were his love. Adelin begs him not to talk so; she fears that her
father may overhear. False maid-servants tell the king that Fröjdenborg
is decoying his daughter; the king orders him to be put in chains and
shut up in the dark tower. There he stays fifteen years. Adelin goes
to the garden to make Fröjdenborg a garland again. The king sees from
his window what she is about, orders her into his presence (he has not
cared to see her for fifteen years), and angrily demands what she has
been doing in the garden. She says that she has been making a rose
garland for Fröjdenborg. ‘Not forgotten him yet?’ ‘No; nor should I,
if I lived a hundred years.’ ‘Then I will put a stop to this love.’
Fröjdenborg is taken out of the tower; his hair and beard are gray,
but he declares that the fifteen years have seemed to him only a few
days. They bind Fröjdenborg to a tree, and kill him as boors slaughter
cattle. They lay him on a board, and gut (slit) him as boors gut (slit)
a fish. The false maids take his heart and dress the lady a dainty
dish. She has a misgiving, and asks what she has eaten. They tell her
it is her lover’s heart; then, she says, it shall be my last meal. She
asks for drink: she will drink to Fröjdenborg, she will drink herself
dead. Her heart breaks; word is carried to her father; God a mercy! he
cries, I have betrayed my only child. The two are buried in one grave,
from which springs a linden; the linden grows over the church ridge;
one leaf enfolds the other.
=Danish.= ‘Hertug Frydenborg,’ in about forty copies from recent
tradition and a broadside of the eighteenth century, but not found in
old manuscripts: Olrik, Danmarks gamle Folkeviser, V, II, 216, No 305,
=H-A=, and Kristensen, XI, 117, No 46. Of these, =E i=, obtained in
1809, had been printed by Nyerup og Rasmussen, Udvalg af danske Viser,
II, 238, No 71. Others are in Kristensen’s Skattegraveren, I, 33, No
113, III, 148, Nos 835-38, and in Kristensen’s Jyske Folkeminder, II,
207, No 61 =A-D= (‘Ridderens Hjærte’), and X, 213, 385, 360, No 52
=A-E=, No 94 =B=.
One half of these texts, as Olrik remarks, are of Swedish origin, and
even derived from the Swedish broadside; others have marks of their
own, and one in particular, which indicates the ultimate source of the
story in both the Swedish and the Danish ballad. This source appears to
be the Decameron, IV, 1, as in the Scottish and Italian ballads. The
points of resemblance are: A princess, an only daughter, has a lover;
her father disapproves, and throws the lover into prison (where he
remains fifteen years in the ballad, only a day or two in the tale).
The lover is taken from prison and put to death, and his heart is cut
out. (The heart is not sent to the princess in a golden vessel, as in
the Decameron, IV, 1, and the Scottish and Italian ballads, but is
cooked, and given her to eat, and is eaten; and she says, when informed
that she has eaten her lover’s heart, that it shall be her last food.)
In most of the Scandinavian ballads the princess calls for wine (mead),
and ‘drinks herself to death.’ But in =C= it is expressly said that she
drinks poisoned wine, in =E a=, =c=, =k=, poisonous wine, in =D= that
she puts a grain of poison in the cruse. (In =E l= they mix the lover’s
blood in wine; she takes two draughts, and her heart bursts.)
A husband giving his wife her lover’s heart to eat is a feature in
an extensive series of poems and tales, sufficiently represented for
present purposes by the ninth tale in the fourth day of the Decameron,
and no further explanation is required of the admixture in the
Scandinavian ballad.[32]
In Danish =A a=, =b=, =h=, =o=, =B b=, two lilies spring from the
common grave of the lovers, and embrace or grow together. In =E k=,
=l=, =F b=, =e=, =f=, and Kristensen, XI, No 46, the lovers are buried
apart (she south, he north, of kirk, etc.), a lily springs from each,
and the two grow together.
=Low and High German, Dutch.= =A.= ‘Brennenberg,’ 12 stanzas, Uhland,
I, 158, No 75 A, Niederdeutsches Liederbuch, No 44, conjectured to be
of the beginning of the seventeenth century. ‘Der Bremberger,’ Böhme,
p. 87, No 23 B (omitting sts 3, 4); Simrock, Die deutschen Volkslieder,
p. 14, No 5, Die geschichtlichen deutschen Sagen, p. 325, No 105
(omitting sts 1-4, and turned into High German). =B.= ‘Ein schöner
Bremberger,’ 8 stanzas, flying-sheet, 8°, Nürnberg, Valentin Newber,
about 1550-70, Böhme, No 23 A; Wunderhorn, ed. Erk, 1857, IV, 41,
modernized. =C.= ‘Van Brandenborch,’ 6 stanzas, Antwerpener Liederbuch,
1544, ed. Hoffmann, p. 120, No 81; Hoffmann’s Niederländische
Volkslieder, 1856, p. 34, No 7 (omitting st. 6); Uhland, No 75 B. =D
a.= Grasliedlin, 1535, one st., Böhme, No 23 a; Uhland, No 75 C. =b.=
The same, heard on the Lower Rhine, 1850, Böhme, No 23 b.
‘Brunenborch,’ Willems, No 53, p. 135, 21 stanzas, purports to be a
critical text, constructed partly from copies communicated to the
editor (“for the piece is to this day sung in Flanders”), and partly
from =C=, =A=, =D a=, and Hoffmann, No 6.[33] It is not entitled to
confidence.
All the versions are meagre, and =A= seems to be corrupted and
defective at the beginning.[34]
A youth, =B= 2, has watched a winter-long night, brought thereto by
a fair maid, =A= 1, 3, =B= 1, to whom he has devoted his heart and
thoughts, and with whom he wishes to make off, =A=, =B=. Ill news
comes to the maid, =B= 2, that her lover is a prisoner, and has been
thrown into a tower. There Brennenberg (=A=, der Bremberger, =B=,
Brandenborch, =C=, der Brandenburger, =D a=) lay seven years or more,
till his head was white and his beard was gray. They laid him on a
table and slit him like a fish,[35] cut out his heart, dressed it with
pepper, and gave it to the fairest, =A=, the dame, =B=, the dearest,
=C=, to eat. ‘What have I eaten that tasted so good?’ ‘Brennenberg’s
heart,’ =A=. ‘If it is his heart, pour wine for me, and give me to
drink.’ She set the beaker to her mouth, and drank it to the bottom,
=B=. The first drop she drank, her heart broke into a dozen bits, =A=,
=C=. (Their love was pure, such as no one could forbid, =A= 11; the
same implied in =A= 12, =C= 5.)
The German-Dutch ballad, though printed two hundred years before any
known copy of the Swedish-Danish, is much less explicit. The lady is
certainly a maid in =B=, and she is a maid in =A= if the first stanza
is accepted as belonging to the ballad. Then it should be her father
who proceeds so cruelly against her. The wine-drinking, followed by
speedy death, may come, as it almost certainly does in some of the
Scandinavian ballads, from the story of Ghismonda; and therefore the
German-Dutch ballads, as they stand, may perhaps be treated as a
blending of the first and the ninth tale of Boccaccio’s fourth day. But
there is a German meisterlied, printed, like =B=, =C=, =D a=, in the
sixteenth century, which has close relation with these ballads, and
much more of Boccaccio’s ninth tale in it: ‘Von dem Brembergers end und
tod,’ von der Hagen’s Minnesinger, IV, 281, Wunderhorn, 1808, II, 229,
epitomized in the Grimms’ Deutsche Sagen, II, 211, No 500. The knight
Bremberger has loved another man’s wife. The husband cuts off his head,
and gives his heart to the lady to eat. He asks her if she can tell
what she has eaten. She would be glad to know, it tasted so good. She
is told that it is Bremberger’s heart. She says she will take a drink
upon it, and never eat or drink more. The lady hastens from table to
her chamber, grieves over Bremberger’s fate, protesting that they had
never been too intimate, starves herself, and dies the eleventh day.
The husband suffers great pangs for having ‘betrayed’[36] her and her
deserving servant, and sticks a knife into his heart.[37]
The incident of a husband giving his wife her lover’s heart to eat
occurs in a considerable number of tales and poems in literature, and
in all is obviously of the same source.
Ysolt, in the romance of Tristan, twelfth century, sings a lai how
Guirun was slain for love of a lady, and his heart given by the count
to his wife to eat. (Michel, III, 39, vv. 781-90.)
Ramon de Castel Rossillon (Raimons de Rosillon) cut off the head of
Guillems de Cabestaing, lover of his wife, Seremonda (Margarita),
took the heart from the body, ‘fetz lo raustir e far pebrada,’ and
gave it to his wife to eat. He then told her what she had been eating
(showing her Cabestaing’s head), and asked her if it was good. So good,
she said, that she would never eat or drink more; hearing which, her
husband rushed at her with his sword, and she fled to a balcony, let
herself fall (threw herself from a window), and was killed. (Chabaneau,
Les Biographies des Troubadours en langue provençale, pp. 99-103, MSS
of the thirteenth and the fourteenth century.) Nearly the same story,
‘secondo che raccontano i provenzali,’ in the Decameron, IV, 9, of
Messer Guiglielmo Rossiglione and Messer Guiglielmo Guardastagno. The
lady says that she liked very much the dish which she had eaten, and
the husband, No wonder that you should like when it was dead the thing
which you liked best of all when it was living: what you have eaten
was Guardastagno’s heart. God forbid, replies the lady, that I should
swallow anything else after so noble a repast; then lets herself drop
from a high window.
In Konrad von Würzburg, ‘Das Herz,’ ‘Das Herzmäre,’ 1260-70, five or
six hundred verses, a knight and a lady are inflamed with a mutual
passion (tugendhafter mann, reines weib). The lady’s husband conceives
that he may break this up by taking her to the Holy Land. In that case,
the knight proposes to follow; but the lady prevails upon him to go
before her husband shall take this step, with the object of lulling
his jealousy and stopping the world’s talk. The knight goes, and dies
of the separation. As his end was approaching, he had ordered his
attendant to take out his heart, embalm it, enclose it in a gold box,
and carry it to the lady. The husband lights upon the emissary, takes
away the box, directs his cook to make a choice dish of the heart, and
has this set before his wife for her exclusive enjoyment. He asks her
how she finds it, and she declares that she has never eaten anything so
delicious. She is then told that she has eaten the knight’s heart, sent
her by him as a token. God defend, she exclaims, that any ordinary food
should pass my mouth after so precious victual, and thereupon dies (von
der Hagen’s Gesammtabenteuer, I, 225). The same story is introduced as
an “example” in a sermon-book: ‘Quidam miles tutpiter adamavit uxorem
alterius militis.’[38] The lady kills herself.
Again, in a romance of eight thousand verses, of the Châtelain de Couci
and la Dame de Faiel (of the end of the thirteenth or the beginning
of the fourteenth century), with the difference that the châtelain
takes the cross, is wounded with a poisoned arrow, and dies on his way
to France. (Jakemon Sakesep, Roman du Châtelain de Couci, etc., ed.
Crapelet, 1829.) From this romance was derived The Knight of Curtesy
and the Fair Lady of Faguell (in which the lady is chaste to her lord
as is the turtle upon the tree), five hundred verses, Ritson’s Metrical
Romanceës, III, 193, from an edition by William Copland, “before 1568;”
also a chap-book, curiously adapted to its time, ‘The Constant but
Unhappy Lovers,’ London, 1707 (cited by Clouston, Popular Tales and
Fictions, II, 191).
Descending to tradition of the present time, we find in the adventures
of Rájá Rasálu, as told in verse and prose in the north of India,
surprising agreements with Boccaccio’s tale: =a=. Temple’s Legends of
the Panjâb, I, 64 f., 1883. =b.= The same, III, 240 f., 1886. =c.=
Swynnerton in the Folk-Lore Journal, I, 143 ff., 1883, and in The
Adventures of Rájá Rasálu, 1884, pp. 130-35. =d.= Clouston, Popular
Tales and Fictions, II, 192, from a book privately printed, 1851. Rájá
Rasálu kills his wife’s lover, tears out his heart, =a=, heart and
liver, =d=, takes of his flesh, =b=, =c=, roasts and gives to his wife
to eat. She finds the meat is very good, =a=, no venison was ever so
dainty, =c=. The king retorts, You enjoyed him when he was living; why
should you not relish his flesh now that he is dead? and shows her the
body of his rival. She leaps from the palace wall and is killed (=c=
only). (Rájá Rasálu is assigned to our second century.)
A Danish ballad in Syv’s collection, 1695, has one half of the story. A
king has a man for whom his wife has a fancy chopped up and cooked and
served to the queen. She does not eat. (‘Livsvandet,’ Grundtvig, II,
504, No 94 =A=, Prior, I, 391.)
Very like the Indian and the Provençal _sage_, but with change of the
parts of husband and wife, is what Mme d’Aulnoy relates as having been
enacted in the Astorga family, in Spain, in the seventeenth century.
The Marchioness of Astorga kills a beautiful girl of whom her husband
is enamored, tears out her heart, and gives it to her husband in a
stew. She asks him if the dish was to his taste, and he says, Yes. No
wonder, says the wife, for it was the heart of the mistress whom you
loved so much; and then produces the gory head. (Mémoires de la Cour
d’Espagne, La Haye, 1691, I, 108.)
Going back to the twelfth century, we come, even at that early date,
upon one of those extravagances, not to say travesties, which are apt
to follow successful strokes of invention. Ignaure loves and is loved
by twelve dames. The husbands serve his heart to their twelve wives,
who, when they are apprised of what has passed, duly vow that they will
never eat again after the precious mess which they have enjoyed. (Lai
d’Ignaurès, ed. Monmerqué et Michel.) There are relics of a similar
story in Provençal and in German, and a burlesque tale to the same
effect was popular in Italy: Le Cento Novelle Antiche, of about 1300,
Biagi, Le Novelle Antiche, 1880, p. 38, No 29.[39]
A kitchen-boy plays a part of some consequence in several other
ballads. A kitchen-boy is the hero of No 252, IV, 400, a very poor
ballad, to be sure. There is a bad tell-tale of a kitchen-boy in ‘Lady
Maisry,’ =A=, No 65, II, 114, and there is a high-minded kitchen-boy
in ‘The Lady Isabella’s Tragedy.’[40] ‘A ballett, The Kitchen-boyes
Songe’ (whatever this may be), is entered as licensed to John Alde in
the Stationers’ Registers, 1570-71, Arber, I, 438. In about half of the
versions of ‘Der grausame Bruder’ (see II, 101 f.), the king of England
presents himself as a küchenjung to the brother of a lady whom he asks
in marriage after a clandestine intimacy.
* * * * *
=A= is translated by Knortz, Schottische Balladen, p. 22, No 9.
A
Aytoun’s Ballads of Scotland, II, 173, 1859, from the recollection of
a lady residing at Kirkaldy.
1
There was a king, and a very great king,
And a king of meikle fame;
He had not a child in the world but ane,
Lady Daisy was her name.
2
He had a very bonnie kitchen-boy,
And William was his name;
He never lay out o Lady Daisy’s bower,
Till he brought her body to shame.
3
When een-birds sung, and een-bells rung,
And a’ men were boune to rest,
The king went on to Lady Daisy’s bower,
Just like a wandering ghaist.
4
He has drawn the curtains round and round,
And there he has sat him down;
‘To whom is this, Lady Daisy,’ he says,
‘That now you gae so round?
5
‘Is it to a laird? or is it to a lord?
Or a baron of high degree?
Or is it William, my bonnie kitchen-boy?
Tell now the truth to me.’
6
‘It’s no to a laird, and it’s no to a lord,
Nor a baron of high degree;
But it’s to William, your bonnie kitchen-boy:
What cause hae I to lee?’
7
‘O where is all my merry, merry men,
That I pay meat and fee,
That they will not take out this kitchen-boy,
And kill him presentlie?’
8
They hae taen out this bonnie kitchen-boy,
And killd him on the plain;
His hair was like the threads o gold,
His een like crystal stane;
His hair was like the threads o gold,
His teeth like ivory bane.
9
They hae taen out this bonnie boy’s heart,
Put it in a cup o gold;
‘Take that to Lady Daisy,’ he said,
‘For she’s impudent and bold;’
And she washd it with the tears that ran from her eye
Into the cup of gold.
10
‘Now fare ye weel, my father the king!
You hae taen my earthly joy;
Since he’s died for me, I’ll die for him,
My bonnie kitchen-boy.’
11
‘O where is all my merry, merry men,
That I pay meat and wage,
That they could not withold my cruel hand,
When I was mad with rage?
12
‘I think nae wonder, Lady Daisy,’ he said,
‘That he brought your body to shame;
For there never was man of woman born
Sae fair as him that is slain.’
B
From “The Old Lady’s Collection,” formerly in the possession of Sir
Walter Scott, No 41.
1
Ther was a king, an a worthy king,
[An a king] of birth an fame;
He had an only dear daughter,
An Dayesie was her name.
2
Ther was a boy about the house,
Bold Roben was his name;
He would not stay out of Dayese’s bour,
Till he brought her body [to] shame.
3
When bells was rung,. .. .
An a’ man bon to rest,
The king went up to Lady Dayese’s bour,
He was an unwelcom gast.
4
‘O Lady Dayesë, dear, d[ea]r Dayisie,
What gars ye gae sae round?
We yer tua sides high an yer bellie bige,
Fra yer face the couller is gane.’
5
‘O have ye loved? or have ye lang-sought?
Or die ye goo we barn?’
‘It’s all for you, fair father,
That ye stayed so long in Spain.’
6
‘It’s aff ye take yer berry-broun goon,
An ye lay it on a ston,
An I will tell you in a very short time
If ye loued any man or no[n].’
7
It’s aff she has tane her berry-broun goon,
An laid it on a ston;
We her tua sides high, her belley turned bigg,
Fra her face the couller was gane.
8
‘O is it to lord? or is to lard?
Or till a man of mean?
Or is it to Bold Roben, the kittchen-boy?
Nou, Dayisie, dinne lea[n].’
9
‘It’s no to leard, nor [to] lord,
Nor to a man of mean,
But it’s to Bold Robien, our kittchen-boy;
Fatt neads me for to lea[n]?’
10
. . . . . . .
. . . . . . .
It’s the morn befor I eat or drink
His heart-blude I sall see.’
11
He’s tean Bold Robien by the hand
Lead him across the green;
His hear was leak the very threeds of goud,
His face shone leak the moon.
12
He’s tane out this bonny boy’s hear[t]
Into a cupe of gold,
Had it to Lady Dayese’s bour,
Says, No[u], Dayesë, behold!
13
‘O welcom to me my heart’s delight!
Nou welcom to me my joy!
Ye have dayed for me, an I’ll day for ye,
Tho ye be but the kittchen-boy.’
14
She has taen out the coup of gold,
Lead it belou her head,
An she wish it we the tears ran doun fra her eays,
An or midnight she was dead.
15
She has tean out the coup of gold,
Laid it belou her hear,
An she wish it we the tears ran don fra her eays,
An alass! spak never mare.
C
Sharpe’s Ballad Book, No 4, p. 12, as sung by Mary Johnston, dairy
maid at Hoddam Castle.
1
There was a king, and a glorious king,
And a king of mickle fame,
And he had daughters only one,
Lady Dysmal was her name.
2
He had a boy, and a kitchen-boy,
A boy of mickle scorn,
And she lovd him lang, and she loved him aye,
Till the grass oergrew the corn.
3
When twenty weeks were gone and past,
O she began to greet!
Her petticoat grew short before,
And her stays they wadna meet.
4
It fell upon a winter’s night
The king could get nae rest;
He cam unto his daughter dear,
Just like a wandring ghaist.
5
He cam into her bed-chalmer,
And drew the curtains round:
‘What aileth thee, my daughter dear?
I fear you’ve gotten wrong.’
6
‘O if I have, despise me not,
For he is all my joy;
I will forsake baith dukes and earls,
And marry your kitchen-boy.’
7
‘Go call to me my merry men all,
By thirty and by three;
Go call to me my kitchen-boy,
We’ll murder him secretlie.’
8
There was nae din that could be heard,
And neer a word was said,
Till they got him baith fast and sure
Between twa feather-beds.
9
‘Go cut the heart out of his breast,
And put it in a cup of gold,
And present it to his Dysmal dear,
For she is baith stout and bold.’
10
They’ve cut the heart out of his breast,
And put it in a cup of gold,
And presented it to his Dysmal dear,
Who was baith stout and bold.
11
‘O come to me, my hinney, my heart,
O come to me, my joy!
O come to me, my hinney, my heart
My father’s kitchen-boy!’
12
She’s taen the cup out of their hands,
And set it at her bed-head;
She washd it wi the tears that fell from her eyes,
And next morning she was dead.
13
‘O where were ye, my merry men all,
Whom I paid meat and wage,
Ye didna hold my cruel hand
When I was in my rage?
14
‘For gone is a’ my heart’s delight,
And gone is a’ my joy;
For my dear Dysmal she is dead,
And so is my kitchen-boy.’
D
Buchan’s MSS, II, 164.
1
There was a king, and a curious king,
And a king of royal fame,
He had ae daughter, he had never mair,
Lady Diamond was her name.
2
She’s fa’en into shame, and lost her good name,
And wrought her parents ’noy;
And a’ for her layen her love so low,
On her father’s kitchen-boy.
3
One night as she lay on her bed,
Just thinking to get rest,
Up it came her old father,
Just like a wandering ghaist.
4
‘Rise up, rise up, Lady Diamond,’ he says,
‘Rise up, put on your gown;
Rise up, rise up, Lady Diamond,’ he says,
‘For I fear ye go too roun.’
5
‘Too roun I go, ye blame me no,
Ye cause me not to shame;
For better love I that bonny boy
Than all your well-bred men.’
6
The king’s calld up his wall-wight men,
That he paid meat and fee:
‘Bring here to me that bonny boy,
And we’ll smore him right quietlie.’
7
Up hae they taken that bonny boy,
Put him between twa feather-beds;
Naething was dane, _nae_thing was said,
Till that bonny boy was dead.
8
The king’s taen out a broad, broad sword,
And streakd it on a strow,
And thro and thro that bonny boy’s heart
He’s gart cauld iron go.
9
Out he has taen his poor bloody heart,
Set it on a tasse of gold,
And set it before Lady Diamond’s face,
Said, Fair lady, behold!
10
Up she has taen this poor bloody heart,
And holden it in her hand:
‘Better loved I that bonny, bonny boy
Than all my father’s land.’
11
Up she has taen his poor bloody heart
And laid it at her head;
The tears away frae her eyes did fly,
And ere midnight she was dead.
E
Joseph Robertson, “Adversaria,” p. 66; noted down from a female
servant, July 15, 1829.
1
It was a king, and a verra greit king,
An a king o muckle fame,
An he had a luvelie dauchter fair,
An Dysie was her name.
2
She fell in love wi the kitchie-boy,
An a verra bonnie boy was he,
An word has gane till her father dear,
An an angry man was he.
3
‘Is it the laird? or is it the lord?
Or a man o high degree?
Or is it to Robin, the kitchie-boy?
O Dysie mak nae lee.’
4
‘It’s nae the laird, nor is it the lord,
Nor a man o high degree,
But it’s to Robin, the kitchie-boy;
What occasion hae I to lee?’
5
‘If it be to Robin, the kitchie-boy,
As I trust weel it be,
The morn, afore ye eat meal or drink,
Ye’ll see him hanged hie.’
6
They have taen Robin out,
His hair was like threads o gold;
That verra day afore it was night,
Death made young Dysie cold.
* * * * *
=B.= _Written without division into stanzas or verses._
3^2. to bed.
8^4. didde lea.
=C.= “Mary Johnston, our dairymaid at Hoddam Castle, used to sing
this. It had a very pretty air, and some more verses which I have now
forgot.” Sharpe’s Ballad-Book, 1880, p. 128.
=D.= _A little scotticized by Buchan in printing, and still more by
Dixon._
9^2. tasse _is_ tarse _in my transcript_; _probably miscopied_.
FOOTNOTES:
[29] See a letter from Scott to C. K. Sharpe, in Mr Allardyce’s edition
of Sharpe’s letters, II, 264.
[30] See Dunlop’s History of Fiction, ed. Wilson, II, 91; von der
Hagen’s Gesammtabenteuer, I, CXXII f.; Clarence Sherwood, Die
neu-englischen Bearbeitungen der Erzählung Boccaccios von Ghismonda und
Guiscardo, Berlin, 1892; Varnhagen in Literaturblatt, December, 1892,
p. 412 ff.
[31] The too late repentance and the burial of the two lovers in one
grave occur, also, in Decameron, IV, 9, presently to be spoken of.
[32] There is a mixture of Decameron, IV, 1 and 9 (with arbitrary
variations), in Palmerin of England (ch. 87, II, 328, of Southey’s
edition of the English translation). Artibel visited the Princess
Brandisia in a tower, ascending by a rope. One night he was taken.
He was shut up till the princess was delivered of a child (cf. the
Scottish ballad). Then the father took Artibel’s heart and sent it to
Brandisia in a cup. She filled the cup with her tears, and sent the cup
of tears to her father, reserving the heart, dressed herself in her
bravest apparel, and cast herself headlong from the tower.
[33] This is a Dutch ballad of Brennenberg without the extraction of
the heart, MS. of the end of the fifteenth century. (Sts 1, 2 resemble,
=A= 3, 4.) A fair lady offers Brunenburch a rose garland; a knight
observes this, goes to his master, and tells him, Brunenburch has been
sleeping with your wife. Brunenburch is imprisoned in a tower, and
after a time sent to the gallows. The lady rides to the gallows. She
has seven bold brothers, who will avenge his death. Brunenburch affirms
and reaffirms his innocence. The lady vows never to braid her hair,
etc. (Cf. II, 156 f.) Frydenborg is hanged in Danish =A d=, =n=, =E b=,
and his heart then taken out.
[34] In =A= 3, 4, which (as also =A= 1 and =B= 1) are in the first
person, a fair maid offers the singer a rose garland. This warrants
no inference of community with the Scandinavian ballad. The passage
probably does not belong in the ballad. Compare the beginning of
Hoffmann, No 6, and a song of John I of Brabant, Willems, p. 13, No 5.
[35] ‘Recht so einem wildenschwin,’ =A= 8, brings to mind ‘quel cuor di
cinghiare,’ in Decameron, IV, 9, but, considering the ‘recht wo einen
visch’ of =A= 7, may be judged an accidental correspondence.
[36] It is to be noted that the father reproaches himself for
‘betraying’ his only child in the Swedish ballad, and in Danish =A= 1,
=F a=, =c=, =d=.
[37] A meisterlied, of about 1500 (Böhme), noted by Goedeke, Grundriss,
§ 139, No 7 c, has not been reprinted.
[38] Sermones Parati, No 124, ninth Sunday after Trinity: cited by M.
Gaston Paris, Histoire Littéraire de la France, XXVIII, 382 f.
[39] The older literature is noted, with his usual fulness, by von der
Hagen, Gesammtabenteuer, I, CXVI-XXI. See, also, Dunlop’s History of
Fiction, ed. Wilson, II, 95 f. M. Gaston Paris has critically reviewed
the whole matter, with an account of modern French imitations of the
romance of the Châtelain de Couci, in Histoire Littéraire de la France,
XXVIII, 352-90. See, also, his article in Romania, XII, 359 ff.
[40] See Percy’s Reliques, 1765, III, 154, and Ebsworth, Roxburghe
Ballads, VI, 650. It is in many of the collections of black-letter
broadsides besides the Roxburghe, as Pepys, Wood, Crawford, etc.
Though perhaps absolutely the silliest ballad that ever was made, and
very far from silly sooth, the broadside was traditionally propagated
in Scotland without so much change as is usual in such cases: ‘There
livd a knight in Jesuitmont.’ Scotch Ballads, Materials for Border
Minstrelsy, No 22 e, Abbotsford, in the handwriting of William Laidlaw,
derived from Jean Scott; ‘The Knight in Jesuite,’ Campbell MSS, II,
63; ‘There was a knight in Jessamay,’ Motherwell’s MS. p. 399, from
Agnes Laird, of Kilbarchan. Percy’s ballad is translated by Bodmer,
I, 167, and by Döring, p. 91. The tragedy is said to be localized at
Radcliffe, Lancashire: Harland, Ballads and Songs of Lancashire, ed.
1879, p. 46, Roby’s Traditions of Lancashire, 1879, I, 107, both citing
Dr Whitaker’s History of Whalley.
270
THE EARL OF MAR’S DAUGHTER
‘The Earl of Mar’s Daughter,’ Buchan’s Ballads of the North of
Scotland, I, 49; Motherwell’s MS. p. 565.
The Earl of Mar’s daughter spies a dove on a tower, and promises him
a golden cage if he will come to her. The dove lights on her head,
and she takes him into her bower. When night comes, she sees a youth
standing by her side. The youth explains that his mother, a queen
versed in magic, had transformed him into a dove that he might charm
maids. He is a dove by day, a man at night, and will live and die with
her. In the course of seven years seven sons are born, all of whom are
successively committed to the care of the queen their grandmother.
After the twenty-third year a lord comes to court the lady. She refuses
him: she will live alone with her bird. Her father swears that he will
kill this bird, and Cow-me-doo prudently takes refuge with his mother,
who welcomes home her ‘young son Florentine,’ and calls for dancers
and minstrels. Cow-me-doo Florentine will have none of that; the
situation is too serious. The morrow the mother of his seven sons is
to be wedded; instead of merry-making, he desires to have twenty stout
men turned into storks, his seven sons into swans, and himself into a
goshawk. This feat is beyond his mother’s (quite limited) magic, but
it is done by an old woman who has more skill. The birds fly to Earl
Mar’s castle, where the wedding is going on. The storks seize some of
the noble guests, the swans bind the bride’s best man to a tree, and in
a twinkling the bride and her maidens are carried off by the birds. The
Earl of Mar reconciles himself with his daughter.
There is a Scandinavian ballad which Grundtvig has treated as
identical with this, but the two have little in common beyond the
assumption of the bird-shape by the lover. They are, perhaps, on a par
for barrenness and folly, but the former may claim some age and vogue,
the Scottish ballad neither.
=Danish.= ‘Ridderen i Fugleham,’ Grundtvig, II, 226, No 68, =A-C= (=C=
is translated by Prior, III, 206); ‘Herr Jon som Fugl,’ Kristensen,
I, 161, No 59, X, 23, No 11, =A=, =B=. In Grundtvig’s =A= (MS. of
the sixteenth century), the son of the king of England wooes a maid,
sending her rich presents. Her mother says he shall never have her
daughter, and this message his envoys take back to him. He is angry,
and has a bird’s coat forged for him out of nine gold rings (but his
behavior thereafter is altogether birdlike). He sits on the ridgepole
of the maid’s bower and sings. The maid exclaims, Christ grant thou
wert mine! thou shouldst drink naught but wine, and sleep in my arms.
I would send thee to England, as a gift to my love. She sits down on
the ground; the bird flies into her bosom. She takes the bird into her
bower; he throws off his bird-coat, and is recognized. The maid begs
him to do her no shame. ‘Not if you will go to England with me,’ he
answers, takes her up, and wings his way thither. There he marries her,
and gives her a crown and a queen’s name.
In Grundtvig =B=, the bird is a falcon. The maid will have no man that
cannot fly. Master Hillebrand, son of the king of England, learns this
fact, and has a bird’s coat made for him, enters the room where man had
never been before, sleeps under white linen, and in the morning is a
knight so braw. (Here the story ends.)
In =C=, the maid will have no man that cannot fly, and Master
Hillebrand orders a bird’s coat to be made for him (what could be more
mechanical!), flies into the maid’s bower, and passes the night on
the pole on which she hangs her clothes. In the morning he begins to
sing, flies to the bed, and plays with the maid’s hair. If you could
shed your feathers, says the maid, I would have no other man. Keep
your word, says the bird; give me your hand, and take my claw. She
passes her word; he throws off his feathers, and stands before her a
handsome man. By day, says the maid, he is to fly with the birds, by
night to sleep in her bed. He perches so long on the clothes-pole that
Ingerlille has a girl and a boy. When her father asks who is their
father, she tells him the positive truth; she found them in a wood.
When the bird comes back at night, she says that he must speak to her
father; further concealment is impossible. Master Hillebrand asks the
father to give him his daughter. The father is surprised that he should
want a maid that has been beguiled; but if he will marry her she shall
have a large dowry. The knight wants nothing but her.
Kristensen’s copies do not differ materially. 11 =A= in his tenth
volume (a very brief ballad) drops or lacks the manufacture of the
bird-coat. Grundtvig’s =D-G= drop the bird quite.
The ballad occurs in Swedish, but in the form of a mere abstract; in
Arwidsson, II, 188, No 112, MS. of the sixteenth century. A maid will
have no man but one that can fly. A swain has wings made from five gold
rings; he flies over the rose-wood, over the sea, sits on a lily-spray
and sings, flies till he sleeps in the maid’s bosom.
A Färöe copy is noted by Grundtvig as in the possession of
Hammershaimb, resembling his =B=, but about twice as long.
The lover in bird-shape is a very familiar trait in fiction,
particularly in popular tales.
In Marie de France’s Lai d’Yonec, a lover comes in at his mistress’s
window in the form of a hawk; in ‘Der Jungherr und der treue Heinrich,’
von der Hagen, Gesammtabenteuer, No 64, III, 197, MS. of 1444, as a
bird (by virtue of a stone of which he has possessed himself).[41]
In Hahn, No 102, II, 130 (Albanian), a dove flies in at a princess’s
window, and is changed to man’s shape by dipping in a dish of milk;
Hahn, No 7, I, 97==Pio, No 5, dove (through a hole in the ceiling, dips
in a basin of water); Δελτίον τῆς ἱστορικῆς καὶ ἐθνολογικῆς ἑταιρίας
τῆς Ἑλλάδος, I, 337, golden eagle (through a window, in rose water);
Schneller, No 21, p. 49, dove (dips in a basin of water); Coelho,
Contos pop. portuguezes, No 27, p. 65, bird (dips in a basin of water);
Braga, Contos tradicionães, No 31, I, 68, bird (dips in a basin of
water); Pitrè, Fiabe, etc., No 18, I, 163, green bird (pan of milk,
then pan of water); Bernoni, Fiabe, No 17, p. 87 (milk and water, milk,
rose-water); Visentini, No 17, p. 95, dove; Gonzenbach, No 27, I, 167,
green bird (through a hole in the wall); Nicolovius, p. 34, Asbjørnsen,
Norske Folkeeventyr, Ny Samling, 1871, No 10, p. 35==Juletræet, 1851,
p. 52, falcon; Grundtvig, Danske Folkeæventyr, No 14, p. 167, Madsen,
Folkeminder, p. 19 (‘The Green Knight’), bird; Berntsen, Folke-Æventyr,
No 13, II, 86, bird; Comtesse d’Aulnoy, L’Oiseau bleu,’ Cabinet des
Fées, II, 67, king turned into bird for seven years.[42]
* * * * *
Translated by Gerhard, p. 44; Knortz, Lieder u. Romanzen Alt-Englands,
p. 207, No 62.
* * * * *
1
It was intill a pleasant time,
Upon a simmer’s day,
The noble Earl of Mar’s daughter
Went forth to sport and play.
2
As thus she did amuse hersell,
Below a green aik tree,
There she saw a sprightly doo
Set on a tower sae hie.
3
‘O Cow-me-doo, my love sae true,
If ye’ll come down to me,
Ye’se hae a cage o guid red gowd
Instead o simple tree:
4
‘I’ll put gowd hingers roun your cage,
And siller roun your wa;
I’ll gar ye shine as fair a bird
As ony o them a’.’
5
But she hadnae these words well spoke,
Nor yet these words well said,
Till Cow-me-doo flew frae the tower
And lighted on her head.
6
Then she has brought this pretty bird
Hame to her bowers and ha,
And made him shine as fair a bird
As ony o them a’.
7
When day was gane, and night was come,
About the evening tide,
This lady spied a sprightly youth
Stand straight up by her side.
8
‘From whence came ye, young man?’ she said;
‘That does surprise me sair;
My door was bolted right secure,
What way hae ye come here?’
9
‘O had your tongue, ye lady fair,
Lat a’ your folly be;
Mind ye not on your turtle-doo
Last day ye brought wi thee?’
10
‘O tell me mair, young man,’ she said,
‘This does surprise me now;
What country hae ye come frae?
What pedigree are you?’
11
‘My mither lives on foreign isles,
She has nae mair but me;
She is a queen o wealth and state,
And birth and high degree.
12
‘Likewise well skilld in magic spells,
As ye may plainly see,
And she transformd me to yon shape,
To charm such maids as thee.
13
‘I am a doo the live-lang day,
A sprightly youth at night;
This aye gars me appear mair fair
In a fair maiden’s sight.
14
‘And it was but this verra day
That I came ower the sea;
Your lovely face did me enchant;
I’ll live and dee wi thee.’
15
‘O Cow-me-doo, my luve sae true,
Nae mair frae me ye’se gae;’
‘That’s never my intent, my luve,
As ye said, it shall be sae.’
16
‘O Cow-me-doo, my luve sae true,
It’s time to gae to bed;’
‘Wi a’ my heart, my dear marrow,
It’s be as ye hae said.’
17
Then he has staid in bower wi her
For sax lang years and ane,
Till sax young sons to him she bare,
And the seventh she’s brought hame.
18
But aye as ever a child was born
He carried them away,
And brought them to his mither’s care,
As fast as he coud fly.
19
Thus he has staid in bower wi her
For twenty years and three;
There came a lord o high renown
To court this fair ladie.
20
But still his proffer she refused,
And a’ his presents too;
Says, I’m content to live alane
Wi my bird, Cow-me-doo.
21
Her father sware a solemn oath
Amang the nobles all,
‘The morn, or ere I eat or drink,
This bird I will gar kill.’
22
The bird was sitting in his cage,
And heard what they did say;
And when he found they were dismist,
Says, Wae’s me for this day!
23
‘Before that I do langer stay,
And thus to be forlorn,
I’ll gang unto my mither’s bower,
Where I was bred and born.’
24
Then Cow-me-doo took flight and flew
Beyond the raging sea,
And lighted near his mither’s castle,
On a tower o gowd sae hie.
25
As his mither was wauking out,
To see what she coud see,
And there she saw her little son,
Set on the tower sae hie.
26
‘Get dancers here to dance,’ she said,
‘And minstrells for to play;
For here’s my young son, Florentine,
Come here wi me to stay.’
27
‘Get nae dancers to dance, mither,
Nor minstrells for to play,
For the mither o my seven sons,
The morn’s her wedding-day.’
28
‘O tell me, tell me, Florentine,
Tell me, and tell me true,
Tell me this day without a flaw,
What I will do for you.’
29
‘Instead of dancers to dance, mither,
Or minstrells for to play,
Turn four-and-twenty wall-wight men
Like storks in feathers gray;
30
‘My seven sons in seven swans,
Aboon their heads to flee;
And I mysell a gay gos-hawk,
A bird o high degree.’
31
Then sichin said the queen hersell,
‘That thing’s too high for me;’
But she applied to an auld woman,
Who had mair skill than she.
32
Instead o dancers to dance a dance,
Or minstrells for to play,
Four-and-twenty wall-wight men
Turnd birds o feathers gray;
33
Her seven sons in seven swans,
Aboon their heads to flee;
And he himsell a gay gos-hawk,
A bird o high degree.
34
This flock o birds took flight and flew
Beyond the raging sea,
And landed near the Earl Mar’s castle,
Took shelter in every tree.
35
They were a flock o pretty birds,
Right comely to be seen;
The people viewd them wi surprise,
As they dancd on the green.
36
These birds ascended frae the tree
And lighted on the ha,
And at the last wi force did flee
Amang the nobles a’.
37
The storks there seized some o the men,
They coud neither fight nor flee;
The swans they bound the bride’s best man
Below a green aik tree.
38
They lighted next on maidens fair,
Then on the bride’s own head,
And wi the twinkling o an ee
The bride and them were fled.
39
There’s ancient men at weddings been
For sixty years or more,
But sic a curious wedding-day
They never saw before.
40
For naething coud the companie do,
Nor naething coud they say
But they saw a flock o pretty birds
That took their bride away.
41
When that Earl Mar he came to know
Where his dochter did stay,
He signd a bond o unity,
And visits now they pay.
FOOTNOTES:
[41] The ‘Vogelritter’ mentioned by Prior, III, 207, is this same
story. See Mone, Uebersicht der niederländischen Volksliteratur, p. 90,
No 59.
[42] Most of the above are cited by R. Köhler, notes in Warnke’s ed. of
Marie’s Lais, p. LXXXVIII f. For the dipping in water, etc., see Tam
Lin, I, 338.
271
THE LORD OF LORN AND THE FALSE STEWARD
=A.= ‘Lord of Learne,’ Percy MS., p. 73; Hales and Furnivall, I, 180.
=B.= ‘A pretty ballad of the Lord of Lorn and the Fals Steward.’ =a.=
Wood, 401, fol. 95 b. =b.= Roxburghe, I, 222; Roxburghe Ballads, ed.
Chappell, II, 55. =c.= Pepys, I, 494, No 254.
Also in the Roxburghe collection, III, 534, without printer’s name;
Ewing, Nos 264, 265; Crawford, No 716. All the broadsides are of the
second half of the seventeenth century.
‘The Lord of Lorne and the false Steward’ was entered, with two other
ballads, to Master Walley, 6 October, 1580; ‘Lord of Lorne’ to Master
Pavier and others (among 128 pieces), 14 December, 1624. Arber, II,
379; IV, 131.[43]
=A.= The young Lord of Lorn, when put to school, learns more in one
day than his mates learn in three. He returns home earlier than was
expected, and delights his father with the information that he can
read any book in Scotland. His father says he must now go to France to
learn the tongues. His mother is anxious that he should have a proper
guardian if he goes, and the ‘child’ proposes the steward, who has
impressed him as a man of fidelity. The Lady of Lorn makes the steward
a handsome present, and conjures him to be true to her son. If I am
not, he answers, may Christ not be true to me. The young lord sails for
France, very richly appointed. Once beyond the water, the steward will
give the child neither penny to spend nor meat and drink. The child
is forced to lie down at some piece of water to quench his thirst;
the steward pushes him in, meaning to drown him. The child offers
everything for his life; the steward pulls him out, makes him put off
all his fine clothes and don a suit of leather, and sends him to shift
for himself, under the name of Poor Disaware. A shepherd takes him in,
and he tends sheep on a lonely lea.
The steward sells the child’s clothes, buys himself a suit fit for
a lord, and goes a-wooing to the Duke of France’s daughter, calling
himself the Lord of Lorn; the duke favors the suit, and the lady is
content. The day after their betrothal, the lady, while riding out,
sees the child tending his sheep, and hears him mourning. She sends a
maid to bring him to her, and asks him questions, which he answers,
not without tears. He was born in Scotland, his name is Poor Disaware;
he knows the Lord of Lorn, a worthy lord in his own country. The
lady invites him to leave his sheep, and take service with her as
chamberlain; the child is willing, but her father objects that the lord
who has come a-wooing may not like that arrangement. The steward comes
upon the scene, and is angry to find the child in such company. When
the child gives his name as Poor Disaware, the steward denounces him as
a thief who had robbed his own father; but the duke speaks kindly to
the boy, and makes him his stable-groom. One day, when he is watering
a gelding, the horse flings up his head and hits the child above the
eye. The child breaks out, Woe worth thee, gelding! thou hast stricken
the Lord of Lorn. I was born a lord and shall be an earl; my father
sent me over the sea, and the false steward has beguiled me. The lady
happens to be walking in her garden, and hears something of this; she
bids the child go on with his song; this he may not do, for he has
been sworn to silence. Then sing to thy gelding, and not to me, she
says. The child repeats his story, and adds that the steward has been
deceiving both her and him for a twelvemonth. The lady declares that
she will marry no man but him that stands before her, sends in haste to
her father to have her wedding put off, and writes an account of the
steward’s treachery to the old lord in Scotland. The old lord collects
five hundred friends of high degree, and goes over to France in search
of his son. They find him acting as porter at the duke’s palace. The
men of worship bow, the serving-men kneel, the old lord lights from his
horse and kisses his son. The steward is just then in a castle-top with
the duke, and sees what is going on below. Why are those fools showing
such courtesy to the porter? The duke fears that this means death for
one of them. The castle is beset; the steward is captured, is tried by
a quest of lords and brought in guilty, is hanged, quartered, boiled,
and burned. The young Lord of Lorne is married to the duke’s daughter.
=B.= =B= is an abridgment of an older copy. The story is the same as
in =A= in all material particulars. The admiration of the schoolmaster
and the self-complacency of his pupil in =A= 2, 3, =B= 3, are better
justified in =B= by a stanza which has perhaps dropped out of =A=:
There’s nere a doctor in all this realm,
For all he goes in rich array,
[But] I can write him a lesson soon
To learn in seven years day.
The last six stanzas are not represented in =A=, and the last two are
glaringly modern; but there is a foundation for 62-64 in a romance from
which the story is partly taken, the History of Roswall and Lillian.[44]
‘Roswall and Lillian.’ Roswall was son to the king of Naples.
Happening one day to be near a prison, he heard three lords, who had
been in durance many years for treason, putting up their prayers for
deliverance. He was greatly moved, and resolved to help them out. The
prison-keys were always hidden for the night under the king’s pillow.
Roswall possessed himself of them while his father was sleeping, set
the lords free, and replaced the keys. The escape of the prisoners
was reported the next morning, and the king made a vow that whoever
had been instrumental to it should be hanged; if he came within the
king’s sight, the king would even slay him with his own hands. It soon
came to light that the guilty party was none other than the prince.
The queen interceded for her son, but the king could not altogether
disregard his vow: the prince must be kept out of his sight, and the
king promptly decided that Roswall should be sent to reside with the
king of Bealm, under charge of the steward, a stalwart knight, to
whom the queen promised everything for good service. As the pair rode
on their way, they came to a river. The prince was sore athirst, and
dismounted to take a drink. The steward seized him by the feet as he
bent over the water, and vowed to throw him in unless he would swear an
oath to surrender his money and credentials, and become servant where
he had been master. To these hard terms Roswall was forced to consign.
When they were near the king of Bealm’s palace, the steward dropped
Roswall’s company, leaving him without a penny to buy his dinner; then
rode to the king, presented letters, and was well received. Roswall
went to a little house hard by, and begged for harbor and victuals
for a day. The mistress made him welcome. She saw he was from a far
country, and asked his name. Dissawar was his name; a poor name, said
the old wife, but Dissawar you shall not be, for I will help you. The
next day Roswall was sent to school with the dame’s son. He gave his
name as Dissawar again to the master; the master said he should want
neither meat nor teaching. Roswall had been a remarkable scholar at
home. Without doubt he astonished the master, but this is not said, for
the story has been abridged here and elsewhere. In about a month, the
steward of the king of Bealm, who had observed his beauty, courtesy,
and good parts, carried him to the court of Bealm, where Roswall made
himself a general favorite. The princess Lillian, only child of the
king of Bealm, chose him to be her chamberlain, fell in love with him,
and frankly offered him her heart, an offer which Roswall, professing
always to be of low degree, gratefully accepted.
At this juncture the king of Bealm sent messengers to Naples proposing
marriage between his daughter Lillian and the young prince who had
been commended to him. The king of Naples assented to the alliance,
and deputed lords and knights to represent him at the solemnity.
The king of Bealm proclaimed a joust for the three days immediately
preceding the wedding. Lillian’s heart was cold, for she loved none
but Dissawar. She told Dissawar that he must joust for his lady; but
he said that he had not been bred to such things, and would rather go
a-hunting. A-hunting he went, but before he got to work there came a
knight in white weed on a white steed, who enjoined him to take horse
and armor and go to the jousting, promising that he should find plenty
of venison when he came back. Roswall toomed many a saddle, turned the
steward’s heels upward, made his way back to the wood, in spite of the
king’s order that he should be stopped, resumed his hunting-gear, took
the venison, which, according to promise, was waiting for him, and
presented himself and it to his lady. The order is much the same on
the two succeeding days. A red knight equips Roswall for the joust on
the second day, a knight in gold on the third. The steward is, on each
occasion, put to shame, and in the last encounter two of his ribs are
broken.
When Roswall came back to the wood after the third jousting, the three
knights appeared together and informed him that they were the men
whom he had delivered from prison, and who had promised to help him
if help he ever needed. They bade him have no fear of the steward.
Lillian had suspected from the second day that the victor was Roswall,
and when he returned to her from his third triumph she intimated that
if he would but tell the whole truth to her father their mutual wish
would be accomplished. But Roswall kept his counsel--very whimsically,
unless it was out of respect to his oath--and Lillian was constrained
to speak for herself, for the marriage was to be celebrated on the
fourth day. She asked her father in plain terms to give her Dissawar
for her husband. The king replied, not unkindly, that she could not
marry below her rank, and therefore must take the prince who had been
selected for her; and to the steward she was married, however sorely
against her will. In the course of the wedding-dinner, the three
Neapolitan lords entered the hall, and saluted the king, the queen, and
Lillian, but not the bridegroom. The king asked why they did no homage
to their prince; they replied that they did not see their prince, went
in search of Roswall, and brought him in. The force of the oath, or
the consciousness of an obligation, must have been by this time quite
extinct, for Roswall divulged the steward’s treacherous behavior, and
announced himself as the victor at the jousts. The steward was hanged
that same day; then they passed to the kirk and married Roswall and
Lillian. There was dancing till supper and after supper, the minstrels
played with good will, and the bridal was kept up for twenty days.
Roswall and Lillian belongs with a group of popular tales of which
the original seems to have been characterized by all or many of the
following marks: (1) the son of a king liberates a man whom his father
has imprisoned; (2) the penalty for so doing is death, and to save his
life the prince is sent out of the country, attended by a servant; (3)
the servant forces the prince to change places and clothes with him;
(4) presents himself at a king’s court as prince, and in his assumed
quality is in a fair way to secure the hand of the king’s daughter;
(5) the true prince, figuring the while as a menial (stable-groom,
scullion, gardener’s lad), is successful, by the help of the man whom
he has liberated, in a thrice-repeated contention (battle, tourney,
race), or task, after which he is in a position to make known his rank
and history; (6) the impostor is put to death, and the prince (who has,
perhaps, in his humbler capacity, already attracted her notice and
regard) marries the princess.[45]
Two Slavic tales, a Bosnian and a Russian, come as near as any to the
story of our romance.
A king who has caught a wild man shuts him up, and denounces death to
any one that shall let him out. The king’s son’s bedroom is just over
the place in which the wild man is confined. The prince cannot bear to
hear the continual wailings which come up, and he sets the prisoner
free. The prince confesses what he has done; the king is persuaded
by his advisers to banish his son rather than to enforce the penalty
which he had decreed; the prince is sent off to a distant kingdom,
attended by a servant. One day the prince was seized with thirst
while travelling, and wished to get a drink from a well; but there
was nothing to draw water with, and he ordered his servant to let him
down to the surface of the water, holding him the while by the legs.
This was done; but when the prince had drunk to his satisfaction, the
servant refused to draw him up until he had consented to change places
and clothes, and had sworn besides to keep the matter secret. When
they arrived at the court of the king designated by the father, the
sham prince was received with royal honors, and the true prince had to
consort with servants.... After a time, the king, wishing to marry off
his daughter, proclaimed a three days’ race, open to all comers, the
prize to be a golden apple, and any competitor who should win the apple
each of the three days to have the princess. Our prince had fallen in
love with the young lady, and was most desirous to contend. The wild
man had already helped him in emergencies here passed over, and did
not fail him now. He provided his deliverer with fine clothes and a
fine horse. The prince carried off the apple at each of the races, but
disappeared as soon as he had the prize in hand. All the efforts of
the king to find out the victor were to no purpose, but one day the
princess met the prince in his serving-man’s dress, and saw the apples
shining from his breast. She told her father. The prince did not feel
himself bound to further secrecy; he told everything; the king gave him
the princess, and the servant was properly disposed of.[46]
Ivan, the tsar’s son, releases from confinement Bulat, a robber, whom
the tsar has kept in prison three and thirty years. Bulat tells Ivan
to call him by name in case of future need, and he will not fail to
appear. Ivan travels in foreign countries with his servant, and feeling
thirsty of a warm day tells his servant to get him water from a deep
well to which they have come; Ivan will hold him by a rope tied firmly
about him, so that he can go down into the well without danger. The
servant represents that he is the heavier of the two, too heavy for
his master to hold, and that for this reason it would be better for
Ivan himself to go for the water. Ivan is let down into the well, and
having drunk his fill calls to his servant to draw him up. The servant
refuses to draw him up unless Ivan will swear to give him a certificate
in writing that he is master, and Ivan servant. The paper is given;
they change clothes, and proceed on their journey, and come to Tsar
Pantui’s kingdom. Here the servant is received as a tsar’s son, and
when he tells Tsar Pantui that the object of his coming is to woo his
daughter, the tsar complies with much pleasure. Ivan, at the servant’s
suggestion, is put to low work in the kitchen. Before long the kingdom
is invaded, and the tsar calls upon his prospective son-in-law to drive
off the enemy, for which service he shall receive the princess, but
without it, not. The false Ivan begs the true Ivan to take the invaders
in hand, and he assents without a word. Ivan calls for Bulat: one
attacks the hostile army on the right, the other on the left, and in an
hour they lay a hundred thousand low. Ivan returns to his kitchen. A
second invasion, and a third, on a larger and larger scale, ensue, and
Ivan and Bulat repulse the enemy with greater and greater loss. Ivan
each time goes back to his kitchen; his servant has all the glory, and
after the third and decisive victory marries the princess. Ivan gets
permission from the cook to be a spectator at the wedding-banquet. The
tsar’s daughter, it must now be observed, had overheard the conference
between the pseudo-prince and Ivan, and even that between Ivan and
Bulat, and had hitherto, for inscrutable reasons, let things take
their course. But when she saw Ivan looking at the feast from behind
other people, she knew him at once, sprang from the table, brought
him forward, and said, This is my real bridegroom and the savior of
the kingdom; after which she entered into a full explanation, with
the result that the servant was shot, and Ivan married to the tsar’s
daughter.[47]
Other tales of the same derivation, but deficient in some points,
are: (=A.=) Radloff, Proben der Volkslitteratur der türkischen Stämme
Süd-Sibiriens, IV, 385, ‘Der Peri.’ (=B.=) Straparola, Piacevoli Notti,
v, 1 (‘Guerrino, son of the king of Sicily’). (=C.=) Grimms, K.- und
Hausmärchen, No 136, II, 242, ed. 1857, ‘Der Eisenhaus.’ (=D.=) Sommer,
Sagen, Märchen und Gebräuche aus Sachsen und Thüringen, p. 86, No 2,
‘Der eiserne Mann.’ (=E.=) Milenowsky, Volksmärchen aus Böhmen, p. 147,
‘Vom wilden Manne.’[48]
(1) The son of a king liberates a prisoner (peri, wild or iron man),
=A-E=. (The keys are under his mother’s pillow, =B=, =C=.) (2) The
prince goes to another kingdom, =A-D= with attendance, =E= without. (3)
His attendant forces the prince to change places and clothes, only =A=.
(Advantage is taken of the helplessness of the hero when let down into
the well to force exchange of parts, in the Servian Tales of Dj. K.
Stefanović, 1871, p. 39, No 7, Jagić, Archiv, I, 271; Meyer, Albanian
Tales, No 13, in Archiv für Litteraturgeschichte, XII, 137; Franzisci,
Cultur-Studien in Kärnten, p. 99, and, nearly the same, Dozon, Contes
Albanais, No 12, p. 83.) (5) The hero, serving as kitchen-boy or
gardener’s lad, =C=, =D=, =E=, defeats an invading army, =C=, =D=, =E=,
wins a prize three successive days, =C=, =E=, is successful in three
tasks, =A=, =B=; and all these feats are performed by the help of the
prisoner whom he set free. The variation of the color of armor and
horses occurs in =C=, =E=, an extremely frequent trait in tales and
romances; see Ward, Catalogue of Romances, etc., 734 f., Lengert, XVII,
361. (Very striking in the matter of the tournaments is the resemblance
of the romance of Ipomedon to Roswall and Lillian. Ipomedon, like
Roswall, professes not to have been accustomed to such things, and
pretends to go a-hunting, is victorious three successive days in a
white, red, black suit, on a white, bay, black steed, vanishes after
the contest, and presently reappears as huntsman, with venison which
a friend had been engaged in securing for him.) (6) The treacherous
attendant is put to death, =A=. The hero of course marries the princess
in all the tales.
The points in the romance which are repeated in the ballad are
principally these: The young hero is sent into a foreign country under
the care of his father’s steward. The steward, by threatening to drown
him while he is drinking at a water-side, forces him to consent to an
exchange of positions, and strips him of his money; then passes himself
off as his master’s son with a noble personage, who eventually fixes
upon the impostor as a match for his only daughter. The young lord,
henceforth known as Dissawar,[49] is in his extremity kindly received
into an humble house, from which he soon passes into the service of the
lady whose hand the steward aspires to gain. The lady bestows her love
upon Dissawar, and he returns her attachment. In the upshot they marry,
the false steward having been unmasked and put to death.
What is supplied in the ballad to make up for such passages in the
romance as are omitted is, however, no less strictly traditional than
that which is retained. Indeed, were it not for the name Dissawar, the
romance might have been plausibly treated, not as the source of the
ballad, but simply as a kindred story; for the exquisite tale of ‘The
Goose Girl’ presents every important feature of ‘The Lord of Lorn,’
the only notable difference being that the young lord in the ballad
exchanges parts with the princess in the tale, an occurrence of which
instances have been, from time to time, already indicated.
In ‘Die Gänsemagd,’ Grimms, No 89, II, 13, ed. 1857, a princess is
sent by her mother to be wedded to a bridegroom in a distant kingdom,
with no escort but a maid. Distressed with thirst, the princess orders
her maid to get down from her horse and fetch her a cup of water
from a stream which they are passing. The maid refuses; she will no
longer be servant, and the princess has to lie down and drink from the
stream. So a second and a third time: and then the servant forces her
mistress, under threat of death, to change horses and clothes, and to
swear to keep the matter secret at the court to which they are bound.
There the maid is received as princess, while the princess is put to
tending geese with a boy. The counterfeit princess, fearing that her
mistress’s horse, Falada, may tell what he has observed, induces the
young prince to cut off Falada’s head. The princess has the head nailed
up on a gate through which she passes when she takes out the geese, and
every morning she addresses Falada with a sad greeting, and receives
a sad return. The goose-boy tells the old king of this, and the next
day the king hides behind the gate and hears what passes between the
goose-girl and Falada. The king asks an explanation of the goose-girl
when she comes back in the evening, but the only answer he elicits
is that she has taken an oath to say nothing. Then the king says, If
you will not tell me your troubles, tell them to the stove; and the
princess creeps into the oven and pours out all her grief: how she, a
king’s daughter, has been made to change places with her servant, and
the servant is to marry the bridegroom, and she reduced to tend geese.
All this the king hears from outside of the room through the stovepipe,
and he loses no time in repeating it to his son. The false maid is
dragged through the streets in a barrel stuck full with nails, and the
princess married to the prince to whom she had been contracted.
The passage in the ballad in which the Lord of Lorn relates to the
gelding, within hearing of the duke’s daughter, the injuries which he
had sworn to conceal has, perhaps, suffered some corruption, though
quibbling as to oaths is not unknown in ballads. The lady should be
believed to be out of earshot, as the king is thought to be by the
goose-girl. Unbosoming one’s self to an oven or stove is a decidedly
popular trait; “the unhappy and the persecuted betake themselves to the
stove, and to it bewail their sufferings, or confide a secret which
they may not disclose to the world.”[50] An entirely similar passage
(but without an oath to secrecy) occurs in Basile’s Pentamerone, II,
8, where a girl who has been shamefully maltreated by her uncle’s wife
tells her very miserable story to a doll, and is accidentally overheard
by the uncle. The conclusion of the tale is quite analogous to that of
the goose-girl.
* * * * *
A
Percy MS., p. 73, Hales and Furnivall, I, 180.
1
It was the worthy Lord of Learen,
He was a lord of a hie degree;
He had noe more children but one sonne,
He sett him to schoole to learne curtesie.
2
Lear[n]ing did soe p_ro_ceed w_i_th that child,
I tell you all in veretie,
He learned more vpon one day
Then other children did on three,
3
And then bespake the schoole-m_aster_,
Vnto the Lo_rd_ of Learne said hee,
I thinke thou be some stranger borne,
For the holy gost remaines w_i_th thee.
4
He said, I am noe stranger borne,
Forsooth, m_aster_, I tell it to thee;
It is a gift of Almighty God
W_hi_ch he hath giuen vnto mee.
5
The schoole-m_aster_ turnd him round about,
His angry mind he thought to asswage,
For the child cold answer him soe quicklie,
And was of soe tender yeere of age.
6
The child he caused a steed to be brought,
A golden bridle done him vpon;
He tooke his leaue of his schoolfellows,
And home the child that he is gone.
7
And when he came before his father,
He ffell low downe vpon his knee:
‘My blessing, father, I wold aske,
If Christ wold grant you wold gine it me.’
8
‘Now God thee blesse, my sonne and my heire,
His servant in heauen _tha_t thou may bee!
What tydings hast thou brought me, child,
Thou art comen home so soone to mee?’
9
‘Good tydings, father, I haue you brought,
Goo[d tydings] I hope it is to thee;
The booke is not in all S[c]ottlande
But I can reade it before yo_u_r eye.’
10
A ioyed man his father was,
Euen the worthy Lo_rd_ of Learne:
‘Thou shalt goe into Ffrance, my child,
The speeches of all strange lands to learne.’
11
But then bespake the child his mother,
The Lady of Learne and then was shee;
Saies, Who must be his well good guide,
When he goes into that strange country?
12
And then bespake that bonnie child,
Vntill his father tenderlie;
Saies, Father, I’le haue the hend steward,
For he hath beene true to you and mee.
13
The lady to concell the steward did take,
And counted downe a hundred pound there;
Saies, Steward, be true to my sonne and my heire,
And I will giue thee mickle mere.
14
‘If I be not true to my m_aster_,’ he said,
‘Christ himselfe be not trew to mee!
If I be not true to my lord and m_aster_,
An ill death _tha_t I may die!’
15
The Lo_rd_ of Learne did apparell his child
W_i_th bruche, and ringe, and many a thinge;
The apparrell he had his body vppon,
Thé say was worth a squier’s liuinge.
16
The parting of the younge Lo_rd_ of Learne
W_i_th his ffather, his mother, his ffellows deere,
Wold haue made a manis hart for to change,
If a Iew borne that he were.
17
The wind did serue, and thé did sayle
Over the sea into Ffrance land;
He vsed the child soe hardlie,
He wold let him haue neuer a penny to spend.
18
And meate he wold let the child haue none,
Nor mony to buy none, trulie;
The boy was hungry and thirsty both;
Alas! it was the more pitty.
19
He laid him downe to drinke the water
_Tha_t was soe low beneathe the brime;
He [that] was wont to haue drunke both ale and wine
Then was faine of the water soe thinne.
20
And as he was drinking of the water
_Tha_t ran soe low beneath the brime,
Soe ready was the false steward
To drowne the bonny boy therin.
21
‘Haue mercy on me, worthy steward!
My life,’ he said, ‘lend it to mee,
And all _tha_t I am heire vpon,’
Saies, ‘I will giue vnto thee.’
22
Mercy to him the steward did take,
And pulld the child out of the brime;
Euer alacke, the more pittye!
He tooke his clothes euen from him.
23
Saies, Doe thou me of that veluett gowne,
The crimson hose beneath thy knee,
And doe me of thy cordiuant shoone,
Are buckled w_i_th the gold soe free.
24
‘Doe thou me off thy sattin doublett,
Thy shirtband wrought w_i_th glistering gold,
And doe mee off thy golden chaine,
About thy necke soe many a fold.
25
‘Doe thou me off thy veluett hat,
W_i_th fether in _tha_t is soe ffine;
All vnto thy silken shirt,
_Tha_t’s wrought with many a golden seam.’
26
The child before him naked stood,
W_i_th skin as white as lilly flower;
For [t]his worthy lords bewtie
He might haue beene a ladye’s paramoure.
27
He put vpon him a lether cote,
And breeches of the same beneath the knee,
And sent that bony child him froe,
Service for to craue, truly.
28
He pulld then forth a naked sword
_Tha_t hange full low then by his side;
‘Turne thy name, thou villaine,’ he said,
‘Or else this sword shall be thy guide.’
29
‘What must be my name, worthy steward?
I pray thee now tell it me:’
‘Thy name shalbe Pore Disaware,
To tend sheepe on a lonelye lee.’
30
The bonny child he went him froe,
And looked to himselfe, truly;
Saw his apparrell soe simple vppon;
O Lo_rd_! he weeped tenderlye.
31
Vnto a shepard’s house _tha_t childe did goe,
And said, S_i_r, God you saue and see!
Doe you not want a servant-boy,
To tend yo_u_r sheepe on a lonelie lee?
32
‘Where was thou borne?’ the shepard said,
‘Where, my boy, or in what country?’
‘S_i_r,’ he said, ‘I was borne in fayre Scottland,
_Tha_t is soe farr beyond the sea.’
33
‘I haue noe child,’ the shepard sayd;
‘My boy, thoust tarry and dwell w_i_th mee;
My liuinge,’ he sayd, ‘and all my goods,
I’le make thee heire [of] after mee.’
34
And then bespake the shepard’s wife,
To the Lo_rd_ of Learne thus did she say;
‘Goe thy way to our sheepe,’ she said,
‘And tend them well both night and day.’
35
It was a sore office, O Lo_rd_, for him
_Tha_t was a lord borne of a great degree!
As he was tending his sheepe alone,
Neither sport nor play cold hee.
36
Let vs leaue talking of the Lo_rd_ of Learne,
And let all such talking goe;
Let vs talke more of the false steward,
That caused the child all this woe.
37
He sold this Lo_rd_ of Learne’s his clothes
For fiue hundred pound to his pay [there],
And bought himselfe a suite of apparrell
Might well beseeme a lo_rd_ to weare.
38
When he _tha_t gorgeous apparrell bought,
That did soe finelie his body vppon,
He laughed the bony child to scorne
_Tha_t was the bonny Lo_rd_ of Learne.
39
He laughed _tha_t bonny boy to scorne;
Lo_rd_! pitty it was to heare;
I haue herd them say, and soe haue you too,
_Tha_t a man may buy gold to deere.
40
When _tha_t he had all _tha_t gorgeous apparrell,
_Tha_t did soe finelie his body vpon,
He went a woing to the Duke’s daughter of France,
And called himselfe the Lo_rd_ of Learne.
41
The Duke of Ffrance heard tell of this,
To his place _tha_t worthy lo_rd_ was come, truly;
He entertaind him w_i_th a quart of red Renish wi[ne],
Saies, Lo_rd_ of Learne, thou art welcome to me.
42
Then to supp_er_ that they were sett,
Lords and ladyes in their degree;
The steward was sett next the Duke of France;
An vnseemlye sight it was to see.
43
Then bespake the Duke of Ffrance,
Vnto the Lo_rd_ of Leearne said hee there,
Sayes, Lo_rd_ of Learne, if thou’le marry my daught[er],
I’le mend thy liuing fiue hundred pound a yeere.
44
Then bespake _tha_t lady fayre,
Answered her ffather soe alone,
That shee would be his marryed wiffe
If he wold make her lady of Learne.
45
Then hand in hand the steward her he tooke,
And plight _tha_t lady his troth alone,
_Tha_t she shold be his marryed wiffe,
And he wold make her the ladie of Learne.
46
Thus _tha_t night it was gone,
The other day was come, truly;
The lady wold see the robucke run,
Vp hills and dales and forrest free.
47
Then shee was ware of the younge Lo_rd_ of Learne
Tending sheepe vnder a bryar, trulye,
. . . . . . . .
. . . . . . . .
48
And thus shee called vnto her maids,
And held her hands vp thus an hie;
Sayes, Feitch me yond shepard’s boy,
I’le know why he doth mourne, trulye.
49
When he came before _tha_t lady fayer,
He fell downe vpon his knee;
He had beene so well brought vpp
He needed not to learne curtesie.
50
‘Where wast thou borne, thou bonny boy?
Where or in what countrye?’
‘Madam, I was borne in faire Scottland,
_Tha_t is soe farr beyond the sea.’
51
‘What is thy name, thou bonny boy?
I pray thee tell it vnto mee;’
‘My name,’ he sayes, ‘is Poore Disaware,
That tends sheepe on a lonely lee.’
52
‘One thing thou must tell mee, bonny boy,
W_hi_ch I must needs aske of thee,
Dost not thou know the young Lo_rd_ of Learne?
He is comen a woing into France to me.’
53
‘Yes, _tha_t I doe, madam,’ he said,
And then he wept most tenderlie;
‘The Lo_rd_ of Learne is a worthy lo_rd_,
If he were at home in his oune country.’
54
‘What ayles thee to weepe, my bonny boy?
Tell me or ere I part thee froe:’
‘Nothing but for a friend, madam,
_Tha_t’s dead from me many a yeere agoe.’
55
A loud laughter the ladie lought,
O Lo_rd_! shee smiled wonderous hie:
‘I haue dwelled in France since I was borne;
Such a shepard’s boy I did neuer see.
56
‘Wilt thou not leaue thy sheepe, my child,
And come vnto service vnto mee?
And I will giue thee meate and fee,
And my chamberlaine thou shalt bee.’
57
‘Then I will leaue my sheepe, madam,’ he sayd,
‘And come into service vnto thee,
If you will giue me meate and fee,
Yo_u_r chamberlaine _tha_t I may bee.’
58
When the lady came before her father,
Shee fell low downe vpon her knee;
‘Grant me, father,’ the lady said,
‘This boy my chamberlaine to be.’
59
‘But O nay, nay,’ the duke did say,
‘Soe my daughter it may not bee;
The lo_rd_ _tha_t is come a woing to you
Will be offended w_i_th you and mee.’
60
Then came downe the false steward,
W_hi_ch called himselfe the Lo_rd_ of Learne, trulie;
When he looked that bonny boy vpon,
An angry man i-wis was hee.
61
‘Where was thou borne, thou vagabond?
Where?’ he sayd, ‘and in what country?’
Says, I was borne in fayre Scotland,
_Tha_t is soe far beyond the sea.
62
‘What is thy name, thou vagabond?
Haue done qu[i]cklie, and tell it to me;’
‘My name,’ he sayes, ‘is Poore Disaware,
I tend sheep on the lonelie lee.’
63
‘Thou art a theefe,’ the steward said,
‘And soe in the end I will prooue thee;’
. . . . . . . .
. . . . . . . .
64
Then be-spake the ladie fayre,
‘Peace, Lord of Learne! I doe pray thee;
Ffor if noe loue you show this child,
Noe favor can you haue of mee.’
65
‘Will you beleeue me, lady faire,
When the truth I doe tell yee?
Att Aberdonie, beyond the sea,
His father he robbed a hundred three.’
66
But then bespake the Duke of France
Vnto the boy soe tenderlie;
Saies, Boy, if thou loue harsses well,
My stable-groome I will make thee.
67
And thus _tha_t _tha_t did passe vppon
Till the twelve monthes did draw to an ende;
The boy applyed his office soe well
Euery man became his freind.
68
He went forth earlye one morning
To water a gelding at the water soe free;
The gelding vp, and with his head
He hitt the child aboue his eye.
69
‘Woe be to thee, thou gelding,’ he sayd,
‘And to the mare _tha_t foled thee!
Thou hast striken the Lo_rd_ of Learne
A litle tinye aboue the eye.
70
‘First night after I was borne, a lo_rd_ I was,
An earle after my father doth die;
My father is the worthy Lo_rd_ of Learne,
And child he hath noe more but mee;
He sent me over the sea with the false steward,
And thus that he hath beguiled mee.’
71
The lady [wa]s in her garden greene,
Walking with her mayds, trulye,
And heard the boy this mourning make,
And went to weeping, trulie.
72
‘Sing on thy song, thou stable groome,
I pray thee doe not let for mee,
And as I am a true ladie
I wilbe trew vnto thee.’
73
‘But nay, now nay, madam!’ he sayd,
‘Soe _tha_t it may not bee;
I am tane sworne vpon a booke,
And forsworne I will not bee.’
74
‘Sing on thy song to thy gelding,
And thou doest not sing to mee;
And as I am a true ladie
I will euer be true vnto thee.’
75
He sayd, Woe be to thee, gelding,
And to the mare _tha_t foled thee!
For thou hast strucken the Lo_rd_ of Learne
A litle aboue mine eye.
76
First night I was borne, a lord I was,
An earle after my father doth dye;
My father is the good Lo_rd_ of Learne,
And child he hath noe other but mee;
My father sent me over [the sea] w_i_th the false steward,
And thus _tha_t he hath beguiled mee.
77
‘Woe be to the steward, lady,’ he sayd,
‘Woe be to him verrily!
He hath beene about this twelve months day
For to deceiue both thee and mee.
78
‘If you doe not my councell keepe,
_Tha_t I haue told you w_i_th good intent,
And if you doe it not well keepe,
Ffarwell! my life is at an ende.’
79
‘I wilbe true to thee, Lo_rd_ of Learne,
Or else Christ be not soe vnto me;
And as I am a trew ladye,
I’le neuer marry none but thee.’
80
Shee sent in for her father, the Duke,
In all the speed _tha_t ere might bee;
‘Put of my wedding, father,’ shee said,
‘For the loue of God, this monthës three.
81
‘Sicke I am,’ the ladye said,
‘O sicke, and verry like to die!
Put of my wedding, father Duke,
Ffor the loue of God, this monthës three.’
82
The Duke of France put of this wedding
Of the steward and the lady monthës three,
For the ladie sicke shee was,
Sicke, sicke, and like to die.
83
Shee wrote a letter w_i_th her owne hand,
In all the speede _tha_t euer might bee;
Shee sent [it] over into Scottland,
_Tha_t is soe ffarr beyond the sea.
84
When the messenger came beffore the old Lo_rd_ of Learne,
He kneeled low downe on his knee,
And he deliuered the letter vnto him,
In all the speed _tha_t euer might bee.
85
[The] first looke he looked the letter vpon,
Lo! he wept full bitterly;
The second looke he looked it vpon,
Said, False steward, woe be to thee!
86
When the Ladye of Learne these tydings heard,
O Lo_rd_! shee wept soe biterlye:
‘I told you of this, now good my lord,
When I sent my child into that wild country.’
87
‘Peace, Lady of Learne,’ the lord did say,
‘For Christ his loue I doe pray thee;
And as I am a christian man,
Wroken vpon him _tha_t I wilbe.’
88
He wrote a letter w_i_th his owne hand,
In all the speede _tha_t ere might bee;
He sent it into the lords in Scottland,
_Tha_t were borne of a great degree.
89
He sent for lords, he sent for k_nigh_ts,
_Th_e best that were in the countrye,
To go w_i_th him into the land of France,
To seeke his sonne in _tha_t strange country.
90
The wind was good, and they did sayle,
Fiue hundred men into France land,
There to seeke _tha_t bonny boy
_Tha_t was the worthy Lo_rd_ of Learne.
91
They sought the country through and through,
Soe farr to the Duke’s place of Ffrance land;
There they were ware of _tha_t bonny boy,
Standing w_i_th a porter’s staffe in his hand.
92
Then the worshippfull, thé did bowe,
The serving-men fell on their knee,
They cast their hatts vp into the ayre
For ioy _tha_t boy _tha_t they had seene.
93
The Lo_rd_ of Learne then he light downe,
And kist his child both cheeke and chinne,
And said, God blesse thee, my sonne and my heire!
The blisse of heauen _tha_t thou may winne!
94
The false steward and the Duke of France
Were in a castle-topp, trulie;
‘What fooles are yond,’ says the false steward,
‘To the porter makes soe lowe curtesie?’
95
Then bespake the Duke of Ffrance,
Calling my Lo_rd_ of Learne, trulie;
He sayd, I doubt the day be come
_Tha_t either you or I must die.
96
Thé sett the castle round about,
A swallow cold not haue flone away;
And there thé tooke the false steward
That the Lo_rd_ of Learne did betray.
97
And when they had taken the false steward,
He fell lowe downe vpon his knee,
And craued mercy of the Lo_rd_ of Learne
For the villanous dedd he had done, trulye.
98
‘Thou shalt haue mercy,’ said the Lo_rd_ of Learne,
‘Thou vile traitor, I tell to thee,
As the lawes of the realme they will thee beare,
Wether it bee for thee to liue or dye.’
99
A quest of lords _tha_t there was chosen,
To goe vppon his death, trulie;
There thé iudged the false steward,
Whether he was guiltie, and for to dye.
100
The forman of the iury he came in,
He spake his words full lowd and hie;
Said, Make thee ready, thou false steward,
For now thy death it drawes full nie.
101
Sayd he, If my death it doth draw nie,
God forgiue me all I haue done amisse!
Where is _tha_t lady I haue loued soe longe?
Before my death to giue me a kisse.
102
‘Away, thou traitor!’ the lady said,
‘Auoyd out of my company!
For thy vild treason thou hast wrought,
Thou had need to cry to God for mercye.’
103
First they tooke him and h[a]ngd him halfe,
And let him downe before he was dead,
And quartered him in quarters many,
And sodde him in a boyling lead.
104
And then they tooke him out againe,
And cutten all his ioynts in sunder,
And burnte him eke vpon a hyll;
I-wis thé did him curstlye cumber.
105
A loud laughter the lady laught,
O Lord! she smiled merrylie;
She sayd, I may praise my heauenly k_ing_
That euer I seene this vile traytor die.
106
Then bespake the Duke of France,
Vnto the right Lo_rd_ of Learne sayd he there;
Says, Lo_rd_ of Learne, if thou wilt marry my daught[er]
I’le mend thy liuing fiue hundred a yeere.
107
But then bespake _tha_t bonie boy,
And answered the Duke quicklie,
I had rather marry yo_u_r daughter w_i_th a ring of go[ld]
Then all the gold _tha_t ere I blinket on w_i_th mine eye.
108
But then bespake the old Lo_rd_ of Learne,
To the Duke of France thus he did say,
Seeing our children doe soe well agree,
They shalbe marryed ere wee goe away.
109
The Lady of Learne shee was sent for
Throughout Scottland soe speedilie,
To see these two children sett vpp
In their seats of gold full royallye.
B
=a.= Wood, 401, fol. 95 b. =b.= Roxburghe, I, 222, III, 534; Roxburghe
Ballads, ed. Chappell, II, 55. =c.= Pepys, I, 494, No 254 (from a
transcript in Percy’s papers).
1
It was a worthy Lord of Lorn,
He was a lord of high degree,
He sent [his son] unto the schoole,
To learn some civility.
2
He learned more learning in one day
Then other children did in three;
And then bespake the schoolmaster
Unto him tenderly.
3
‘In faith thou art the honestest boy
That ere I blinkt on with mine eye;
I hope thou art some easterling born,
The Holy Ghost is with thee.’
4
He said he was no easterling born,
The child thus answered courteously;
My father is the Lord of Lorn,
And I his son, perdye.
5
The schoolmaster turned round about,
His angry mood he could not swage;
He marvelled the child could speak so wise,
He being of so tender age.
6
He girt the saddle to the steed,
The bridle of the best gold shone;
He took his leave of his fellows all,
And quickly he was gone.
7
And when he came to his father dear
He kneeled down upon his knee;
‘I am come to you, fathe[r],’ he said,
‘God’s blessing give you me.’
8
‘Thou art welcome, son,’ he said,
‘God’s blessing I give thee;
What tidings hast thou brought, my son,
Being come so hastily?’
9
‘I have brought tidings, father,’ he said,
‘And so likëd it may be,
There’s never a book in all Scotland
But I can read it, truly.
10
‘There’s nere a doctor in all this realm,
For all he goes in rich array,
I can write him a lesson soon
To learn in seven years day.’
11
‘That is good tidings,’ said the lord,
‘All in the place where I do stand;
My son, thou shalt into France go,
To learn the speeches of each land.’
12
‘Who shall go with him?’ said the lady;
‘Husband, we have no more but he;’
‘Madam,’ he saith, ‘my head steward,
He hath bin true to me.’
13
She cal’d the steward to an account,
A thousand pound she gave him anon;
Sayes, Good Sir Steward, be as good to my child,
When he is far from home.
14
‘If I be fals unto my young lord,
Then God be [the] like to me indeed!’
And now to France they both are gone,
And God be their good speed.
15
They had not been in France land
Not three weeks unto an end,
But meat and drink the child got none,
Nor mony in purse to spend.
16
The child ran to the river’s side;
He was fain to drink water then;
And after followed the fals steward,
To put the child therein.
17
‘But nay, marry!’ said the child,
He asked mercy pittifully,
‘Good steward, let me have my life,
What ere betide my body.’
18
‘Now put off thy fair cloathing
And give it me anon;
So put thee of thy s’lken shirt,
With many a golden seam.’
19
But when the child was stript naked,
His body white as the lilly-flower,
He might have bin seen for his body
A prince’s paramour.
20
He put him in an old kelter coat
And hose of the same above the knee,
He bid him go to the shepherd’s house,
To keep sheep on a lonely lee.
21
The child did say, What shall be my name?
Good steward, tell to me;
‘Thy name shall be Poor Disawear,
That thy name shall be.’
22
The child came to the shepheard’s house
And asked mercy pittifully;
Sayes, Good sir shepheard, take me in,
To keep sheep on a lonely lee.
23
But when the shepheard saw the child,
He was so pleasant in his eye,
‘I have no child, I’le make thee my heir,
Thou shalt have my goods, perdie.’
24
And then bespake the shepheard’s wife,
Unto the child so tenderly;
‘Thou must take the sheep and go to the field,
And keep them on a lonely lee.’
25
Now let us leave talk of the child,
That is keeping sheep on a lonely lee,
And we’l talk more of the fals steward,
And of his fals treachery.
26
He bought himself three suits of apparrell,
That any lord might a seem[d] to worn,
He went a wooing to the Duke’s daughter,
And cal’d himself the Lord of Lorn.
27
The duke he welcomed the yong lord
With three baked stags anon;
If he had wist him the fals steward,
To the devill he would have gone.
28
But when they were at supper set,
With dainty delicates that was there,
The d[uke] said, If thou wilt wed my daughter,
I’le give thee a thousand pound a year.
29
The lady would see the red buck run,
And also for to hunt the doe,
And with a hundred lusty men
The lady did a hunting go.
30
The lady is a hunting gon,
Over le and fell that is so high;
There was she ware of a shepherd’s boy,
With sheep on a lonely lee.
31
And ever he sighed and made moan,
And cried out pittifully,
‘My father is the Lord of Lorn,
And knows not wha[t]’s become of me.’
32
And then bespake the lady gay,
And to her maid she spake anon,
‘Go fetch me hither the shepherd’s boy;
Why maketh he all this moan?’
33
But when he came before the lady
. . . . . . . .
. . . . . . . .
He was not to learn his courtesie:
34
‘Where was thou born, thou bonny child?
For whose sake makst thou all this mone?’
‘My dearest friend, lady,’ he said,
‘Is dead many years agon.’
35
‘Tell thou to me, thou bonny child,
Tell me the truth and do not lye,
Knost thou not the yong lord of Lorn,
Is come a wooing unto me?’
36
‘Yes, forsooth,’ then said the child,
‘I know the lord then, veryly;
The young lord is a valliant lord
At home in his own country.’
37
‘Wilt leave thy sheep, thou bonny child,
And come in service unto me?’
‘Yes, forsooth,’ then said the child,
‘At your bidding will I be.’
38
When the steward lookt upon the child,
He bewraild him villainously:
‘Where wast thou born, thou vagabone?
Or where is thy country?’
39
‘Ha don! ha don!’ said the lady gay,
She cal’d the steward then presently;
‘Without you bear him more good will,
You get no love of me.’
40
Then bespake the false steward
Unto the lady hastily:
‘At Aberdine, beyond the seas,
His father robbëd thousands three.’
41
But then bespake the lady gay
Unto her father courteously,
Saying, I have found a bonny child
My chamberlain to be.
42
‘Not so, not so,’ then said the duke,
‘For so it may not be,
For that young L[ord] of Lorn that comes a wooing
Will think somthing of thee and me.’
43
When the duke had lookt upon the child,
He seemd so pleasant to the eye,
‘Child, because thou lovst horses well,
My groom of stables thou shalt be.’
44
The child plied the horses well
A twelve month to an end;
He was so courteous and so true
Every man became his fri[e]nd.
45
He led a fair gelding to the water,
Where he might drink, verily;
The great gelding up with his head
And hit the child above the eye.
46
‘Wo worth thee, horse!’ then said the child,
‘That ere mare foalëd thee!
Thou little knowst what thou hast done;
Thou hast stricken a lord of high degree.’
47
The d[uke’s] daughter was in her garden green,
She heard the child make great moan;
She ran to the child all weeping,
And left her maidens all alone.
48
‘Sing on thy song, thou bonny child,
I will release thee of thy pain;’
‘I have made an oath, lady,’ he said,
‘I dare not tell my tale again.’
49
‘Tell the horse thy tale, thou bonny child,
And so thy oath shall savëd be;’
But when he told the horse his tale
The lady wept full tenderly.
50
‘I’le do for thee, my bonny child,
In faith I will do more for thee;
For I will send thy father word,
And he shall come and speak with me.
51
‘I will do more, my bonny child,
In faith I will do more for thee,
And for thy sake, my bonny child,
I’le put my wedding off months three.’
52
The lady she did write a letter,
Full pittifully with her own hand,
She sent it to the Lord of Lorn
Whereas he dwelt in fair Scotland.
53
But when the lord had read the letter
His lady wept most tenderly:
‘I knew what would become of my child
In such a far country.’
54
The old lord cal’d up his merry men,
And all that he gave cloth and fee,
With seven lords by his side,
And into France rides he.
55
The wind servd, and they did saile
So far into France land;
They were ware of the Lord of Lorn,
With a porter’s staff in his hand.
56
The lords they moved hat and hand,
The servingmen fell on their knee;
‘What folks be yonder,’ said the steward,
‘That makes the porter courtesie?’
57
‘Thou art a false thief,’ said the L[ord] of Lorn,
‘No longer might I bear with thee;
By the law of France thou shalt be ju[d]gd,
Whether it be to live or die.’
58
A quest of lords there chosen was,
To bench they came hastily,
But when the quest was ended
The fals steward must dye.
59
First they did him half hang,
And then they took him down anon,
And then put him in boyling lead,
And then was sodden, brest and bone.
60
And then bespake the Lord of Lorn,
With many other lords mo;
‘Sir Duke, if you be as willing as we,
We’l have a marriage before we go.’
61
These children both they did rejoyce
To hear the lord his tale so ended;
They had rather to day then to morrow,
So he would not be offended.
62
But when the wedding ended was
There was delicious dainty cheer;
I’le tell you how long the wedding did last,
Full three quarters of a year.
63
Such a banquet there was wrought,
The like was never seen;
The king of France brought with him then
A hundred tun of good red wine.
64
Five set of musitians were to be seen,
That never rested night nor day,
Also Italians there did sing,
Full pleasantly with great joy.
65
Thus have you heard what troubles great
Unto successive joyes did turn,
And happy news among the rest
Unto the worthy Lord of Lorn.
66
Let rebels therefore warnëd be
How mischief once they do pretend;
For God may suffer for a time,
But will disclose it in the end.
* * * * *
=A.=
2^4. on 3.
5^4. agee.
9^2. to mee.
10^4. to learne the speeches of all strange lands.
13^2. 100^{li}_{:}.
16^3. ? mams _in MS._ Furnivall.
19^2. brimn.
19^4. thime.
22^3. euen alacke.
24^3. _a long_ s _in the MS. between_ me _and_ off. =F.=
25^2. thats.
25^4. golden swaine. =B.= seam.
35^3. tenting.
36^3. falst.
37^2. 500^{li}_{:}: pay [there]. _Cf._ 43^2, 105^2.
43^4. 500^{l}_{:}.
46^3. rum.
_47^{1, 2}, 48^{1, 2}, make a stanza in the MS., and 52^{3, 4}, 53,
are written together. 47-53 have been arranged upon the supposition
that two verses (about the boy’s mourning) have dropped out after
47^{1, 2}._
48^{1, 2}. _A tag after_ d _in_ maids, hands _may not mean_ s. =F.=
53^4. _One stroke too many for_ oune _in MS._ =F.=
54^1. _One stroke too many for_ bony, _or too few for_ bonny, _in the
MS._ =F.=
60^4. I-wis.
61^1. thou was.
_63^{1, 2}, 64, are written together in the MS._
64^1. he spake.
65^4. 100: 3.
67^2. 12.
69^4. the knee. _Cf. 68^4, 75^4._
70^4. his child. _Cf. 76^4._
74^4. euer. _Either_ ieuer _in MS. or the letter before_ e _crossed
out_. =F.=
_75^{1, 2} are written with 74, 75^{3, 4} with 76^{1, 2}, in the MS._
75^1. to thy.
76^5. _Cf. 70^5._
77^1. to thee.
77^3. beene aboue: 12.
79^2. soe _may be_ true: _half the line is pared away_. =F.=
80^4, 81^4, 82^2. 3.
90^2. 500.
92^2. knees.
92^4. _Perhaps_ did see.
93^2. chime.
93^4. wiine.
95^3. daubt.
98^3. they. _The_ y _is in a modern hand_. =F.=
100^2. hiye.
106^4. 500.
107^4. mine. _One stroke too few in the MS._ =F.=
109^1. They: for sent.
109^3. 2. And _for_ & _always_.
=B.= The tune is Green Sleeves.
=a.= Printed for F. Coles, T. Vere, and W. Gilbertson.
=b.= Printed by and for A. M[ilbourne], and sold by the booksellers of
London.
=c.= Printed for J. Clarke, W. Thackeray, and T. Passinger.
=a, b, c.=
1^3. =b, c.= sent his son.
2^1. =b, c.= learning _wanting_.
2^3. =b, c.= And thus.
2^4. =c.= To him.
3^2. =b, c.= with my.
4^3. =a.= Lord of Lord.
5^2. =b.= he thought to asswage.
5^4. =b.= so tender of.
6^2. =a.= of his (?) gold. =b=, =c=. of the best gold.
7^2. =c.= on his.
7^4. =b.= give to.
8^1. =b=, =c=. my son.
8^2. =c.= I the give.
9^2. =b.= if that well liked.
9^{3,4}. =b=, =c=. _Wanting._
10^1. =b=, =c=. all the.
11^3. =b.= to France.
12^2. =b=, =c=. have none.
12^3. =b.= said he.
13^3. =b=, =c=. as _wanting_.
13^4. =b=, =c=. while he.
14^1. =b.= false to.
14^2. =b.= may God justly punish me indeed. =c.= the like.
15^2. =b=, =c=. to an.
16^1. =b=, =c=. run. =b.= river.
16^2. =b.= the water.
17^4. =b.= eer else.
19^2. =b=, =c=. as white.
19^4. =b.= princess’s.
20^1. =b=, =c=. him on.
20^2. =a.= thee.
20^4. =a.= love lodely: =b.= keep them on a love lovely: =c.= love
lovely.
21^1. =b=, =c=. child said.
21^3. =a=, =b=, =c=. poor dost thou wear. =A.= disaware.
22^3. =b=, =c=. sir _wanting_.
22^4, 24^4, 25^2, 30^4. =a, b, c.= love lovely. =A.= lonelye lee.
_Perhaps_, lone, lone, lee.
23^2. =b, c.= in the.
24^1. =a.= wise. =b=, =c=. bespoke.
24^2. =c.= thee sheep. =b.= to field.
24^4. =a=, =c=. And get. =b.= keep.
25^1. =b=, =c=. talking.
25^3. =c.= we will.
26^2. =b.= a lord. =b=, =c=. have seemd.
27^3. =c.= himself.
27^4. =b=, =c=. he should.
28^2. =b=, =c=. were.
28^3. =b.= you will.
28^4. =b=, =c=. pounds.
29^3. =b=, =c=. an.
30^2. =a=, =c=. Feansell. =b.= feanser.
30^3. =b=, =c=. aware.
31^1. =b.= And often: made great moan.
31^4. =c.= what is.
32^2. =b=, =c=. unto her maid anon.
33^{1, 4}. =a=, =b=, =c=. _Two lines wanting._
34^1. =b.= wast born. =c.= wast thou born.
35^1. =b.= to _wanting_.
35^2. =c.= the _wanting_.
35^4. =b=, =c=. he is.
36^1. =a.= foorsooth. =c.= forsooth saith the.
37^3. =c.= the _wanting_.
38^2. =b=, =c=. bewailed. =c.= villaniously.
38^3. =b=, =c=. vagabond.
39^1. =a=, =b=, =c=. Ha down. =b=, =c=. gay _wanting_.
40^1. =a.= stewardly.
41^1. =c.= than.
42^3. =b.= the Lord. =c.= young =D=.
42^4. =b=, =c=. think no good. =b.= of me nor thee.
43^1. =b.= had _wanting_.
43^2. =b.= in the.
43^4. =b=, =c=. stable.
44^4. =a=, =c=. become. =b.= became.
45^2. =a.= may. =b=, =c=. might.
45^3. =b=, =c=. great _wanting_. =b.= his heel.
46^1. =a.= thou horse. =b.= thee. =c.= the.
46^2. =b=, =c=. ever.
47^1. =a=, =c=. =D.= daughter.
49^1. =a.= Mell: lonny.
49^4. =b=, =c=. wept most.
50^{3, 4}, 51^{1, 2}. =b, c.= _Wanting._
52^1. =b=, =c=. she _wanting_: letter then.
52^4. =a.= dwells. =b=, =c=. dwelt.
54^4. =b.= unto.
55^3. =b.= aware.
56^4. =c.= maketh.
57^1. =b=, =c=. quoth the.
59^2. =b.= they _wanting_.
60^2. =a.= more. =b=, =c=. mo.
61^3. =b=, =c=. than.
62^2. =b=, =c=. delicate, dilicate.
63. =a.= _Before_ 63: Such a banquet there was wrought, the like was
seen I say.
64^1. =a.= fet. =b=, =c=. set.
65^1. =b=, =c=. how troubles.
65^3. =b=, =c=. amongst.
FOOTNOTES:
[43] Edward Guilpin, in his Skialethia, or A Shadow of Truth, 1598, has
this couplet:
Yet like th’ olde ballad of the Lord of Lorne, Whose last line in King
Harrie’s days was borne. Chappell, Popular Music, p. 228.
It is possible that Guilpin meant that the last line (stanza?) showed
the ballad to be of Henry VIII’s time; but he may have meant exactly
what he says, that the last line was of Henry VIII’s time. We do not
know what the last line of the copy intended by Guilpin was, and all
we learn from the couplet is that ‘The Lord of Lorn’ was called an old
ballad before the end of the sixteenth century.
[44] ‘A Pleasant History of Roswall and Lillian,’ etc., Edinburgh,
1663, reprint by David Laing, Edinburgh, 1822. Edited, with collation
of the later texts and valuable contributions to the traditional
history of the tale, by O. Lengert, Englische Studien, XVI, 321 ff.,
XVII, 341 ff.
[45] The Grimms have indicated some of the tales belonging to this
group, in their notes to No 136 and No 89. Others have been added by
Lengert in Englische Studien. A second group, which has several of the
marks of the first, is treated by Köhler, with his usual amplitude,
in Archiv für Litteraturgeschichte, XII, 142-44. Abstracts of many
tales of both groups, including all that I have cited, are given by
Lengert.--See further in Additions, p. 280 f.
[46] ‘Kraljev sin,’ ‘The King’s Son,’ Bosanske narodne pripovjedke,
1870, No 4, p. 11, Serbian Folk-Lore, Madam Csedomille Mijatovies, ‘One
good turn deserves another,’ p. 189.
[47] Dietrich, Russische Volksmärchen, No 10, p. 131; Vogl, Die
ältesten Volksmärchen der Russen, p. 55. ‘Sługobyl,’ Gliński, Bajarz
polski, I, 166, ed. 1862, Chodzko, Contes des paysans et des patres
slaves, p. 193, is an abridged form of the same story, with a
traditional variation at the beginning, and in the conclusion a quite
too ingenious turn as to the certificate.
[48] Also, Waldau, Böhmisches Märchenbuch, p. 50, after Franz Rubeš.
[49] I can make no guess that I am willing to mention as to the
derivation and meaning of Dissawar. The old woman in the romance, v.
249 ff., says, ‘Dissawar is a poor name, yet Dissawar you shall not be,
for good help you shall have;’ and the schoolmaster, v. 283 ff., says,
‘Dissawar, thou shalt want neither meat nor laire.’ It would seem that
they understood the word to mean, “in want.” Some predecessor of the
romance may by and by be recovered which shall put the meaning beyond
doubt.
[50] Grimm, Deutsche Mythologie, 1875, I, 523 and note. “In 1585, a
man that had been robbed, and had sworn silence, told his story to a
stove in a tavern.” A boy who has come to knowledge of a plot, and has
been sworn to secrecy on pain of death, unburdens his mind to a stove.
Grimm, Deutsche Sagen, No 513, II, 231.
272
THE SUFFOLK MIRACLE
‘The Suffolk Miracle.’ =a.= Wood, E. 25, fol. 83. =b.= Roxburghe, II,
240; Moore’s Pictorial Book of Ancient Ballad Poetry, p. 463.
Also Pepys, III, 332, No 328; Crawford, No 1363; Old Ballads, 1723, I,
266.
A young man loved a farmer’s daughter, and his love was returned. The
girl’s father sent her to his brother’s, forty miles off, to stay till
she should change her mind. The man died. A month after, he appeared
at the uncle’s at midnight, and, as he came on her father’s horse and
brought with him her mother’s travelling gear, he was allowed to take
the girl away with him. As they rode, he complained of headache, and
the girl bound her handkerchief about his head; he was cold as clay.
In two hours they were at her father’s door. The man went to put up
the horse, as he said, but no more was seen of him. The girl knocked,
and her father came down, much astonished to see her, and still more
astonished when she asked if her lover, known by the father to be dead,
had not been sent to bring her. The father went to the stable, where
the girl said the man would be; there was nobody there, but the horse
was found to be ‘all on a sweat.’ After conferences, the grave was
opened, and the kerchief was found about the head of the mouldering
body. This was told to the girl, and she died shortly after.
This piece could not be admitted here on its own merits. At the first
look, it would be classed with the vulgar prodigies printed for
hawkers to sell and for Mopsa and Dorcas to buy. It is not even a good
specimen of its kind. Ghosts should have a fair reason for walking,
and a quite particular reason for riding. In popular fictions, the
motive for their leaving the grave is to ask back plighted troth, to
be relieved from the inconveniences caused by the excessive grief of
the living, to put a stop to the abuse of children by stepmothers, to
repair an injustice done in the flesh, to fulfil a promise; at the
least, to announce the visitant’s death. One would not be captious with
the restlessness of defeated love, but what object is there in this
young man’s rising from the grave to take his love from her uncle’s to
her father’s house? And what sense is there in his headache?
I have printed this ballad because, in a blurred, enfeebled, and
disfigured shape, it is the representative in England of one of the
most remarkable tales and one of the most impressive and beautiful
ballads of the European continent. The relationship is put beyond doubt
by the existence of a story in Cornwall which comes much nearer to the
Continental tale.[51]
Long, long ago, Frank, a farmer’s son, was in love with Nancy, a very
attractive girl, who lived in the condition of a superior servant in
his mother’s house. Frank’s parents opposed their matching, and sent
the girl home to her mother; but the young pair continued to meet, and
they bound themselves to each other for life or for death. To part them
effectually, Frank was shipped for an India voyage. He could not write,
and nothing was heard of him for nearly three years. On All-hallows-Eve
Nancy went out with two companions to sow hemp-seed. Nancy began the
rite, saying:
Hemp-seed, I sow thee,
Hemp-seed, grow thee!
And he who will my true-love be
Come after me
And shaw thee.
This she said three times, and then, looking back over her left
shoulder, she saw Frank indeed, but he looked so angry that she
shrieked, and so broke the spell. One night in November a ship was
wrecked on the coast, and Frank was cast ashore, with just enough
life in him to ask that he might be married to Nancy before he died,
a wish which was not to be fulfilled. On the night of his funeral, as
Nancy was about to lock the house-door, a horseman rode up. His face
was deadly pale, but Nancy knew him to be her lover. He told her that
he had just arrived home, and had come to fetch her and make her his
bride. Nancy was easily induced to spring on the horse behind him.
When she clasped Frank’s waist, her arm became stiff as ice. The horse
went at a furious pace; the moon came out in full splendor. Nancy saw
that the rider was in grave-clothes. She had lost the power of speech,
but, passing a blacksmith’s shop, where the smith was still at work,
she recovered voice and cried, Save me! with all her might. The smith
ran out with a hot iron in his hand, and, as the horse was rushing by,
caught the girl’s dress and pulled her to the ground. But the rider
held on to the gown, and both Nancy and the smith were dragged on till
they came near the churchyard. There the horse stopped for a moment,
and the smith seized his chance to burn away the gown with his iron and
free the girl. The horseman passed over the wall of the churchyard, and
vanished at the grave in which the young man had been laid a few hours
before. A piece of Nancy’s dress was found on the grave. Nancy died
before morning. It was said that one or two of the sailors who survived
the wreck testified that Frank, on Halloween, was like one mad, and,
after great excitement, lay for hours as if dead, and that when he came
to himself he declared that if he ever married the woman who had cast
the spell, he would make her suffer for drawing his soul out of his
body.[52]
A tale of a dead man coming on horseback to his inconsolable love, and
carrying her to his grave, is widely spread among the Slavic people
(with whom it seems to have originated) and the Austrian Germans, was
well known a century ago among the northern Germans, and has lately
been recovered in the Netherlands, Denmark, Iceland, and Brittany.
Besides the tale in its integrity, certain verses which occur in it,
and which are of a kind sure to impress the memory, are very frequent,
and these give evidence of a very extensive distribution. The verses
are to this effect:
The moon shines bright in the lift,
The dead, they ride so swift,
Love, art thou not afraid?
to which the lovelorn maid answers,
How fear, when I am with thee?[53]
There are also ballads with the same story, one in German, several in
Slavic, but these have not so original a stamp as the tale, and have
perhaps sprung from it.
The following will serve as specimens of the tale in question; many
more may certainly be recovered:
=Great Russian.= 1-5, Sozonovič, Appendix, Nos 1, 2, 7, 8, 9.[54]
=Little Russian.= 6-8, Trudy, II, 411, 413, 414, Nos 119-21; 9,
Dragomanof, p. 392; 10-15, Sozonovič, Appendix, Nos 4-6, 10-12; 16,
Bugiel, in the Slavic Archiv, XIV, 146. =White Russian.= 17, 18,
Sozonovič, Appendix, No 3; Dobrovolśkij, Ethnographical Collection from
Smolensk, p. 126, No 58. =Servian.= 19, Krauss, in Wisła, IV, 667.
=Croat.= 20, 21, Strohal, pp. 114, 115, Nos 20, 21. =Croat-Slovenian.=
22-24, Valjavec, Narodne Pripovjedke, p. 239; Plohl-Herdvigov, I,
127, 129. =Slovenian.= 25, 26, Krek, in the Slavic Archiv, X, 357,
358. =Polish.= 27, Zamarski, p. 121; 28, Grudziński, p. 15; 29,
Lach-Szyrma, Pamiętnik Naukowy, 1819, I, 358; 30, Kolberg, Lud,
XIV, 181; 31, Treichel, in Zeitschrift für Volkskunde, II, 144; 32,
Chełchowski, II, 40-42, No 59; 33, Siarkowski, in Zbiór wiadomości
do antropologii krajowéj, III, III (21). =Bohemian.= 34, Sumlork,
I, 608; 35, Erben, Kytice z básní, p. 23 (ballad founded on tale).
=Slovak.= 36, Dobśinsky, pp. 23-30 (three versions). =Wendish.= 37,
Schulenburg, Wendische Volkssagen, p. 137 (fragment). =Lithuanian.=
38, Leskien u. Brugman, p. 160, No 2, p. 497, No 43. =Magyar.= 39,
Pap, Palóc Népköltemények, p. 94, also Arany and Gyulai, I, 207,
No 52, and 569, Aigner, in Gegenwart, 1875, No 12. =Gypsy.= 40,
Wlisłocki, Volksdichtungen der siebenbürgischen u. südungarischen
Zigeuner, p. 283, No 43. =German=, High and Low. 41, Sztodola, in
Herrmann, Ethnologische Mittheilungen aus Ungarn. col. 341 f. (Ofen);
42-45, Vernaleken, Mythen u. Bräuche des Volkes in Oesterreich, pp.
76 f., 79 f., Nos 6-9 (Lower Austria); 46-48, A. Baumgarten, Aus der
volksmässigen Ueberlieferung der Heimat (Geburt, Heirat, Tod), pp.
135, 136, 136 f. (Upper Austria); 49, Boeckel, in Germania, XXXI, 117
(Baden); 50, 51, Jahn, Volkssagen aus Pommern u. Rügen, pp. 404, 406,
No 515, I, II; 52, J. F. Cordes, in The Monthly Magazine, 1799, VIII,
602 f. (Glandorf, Lower Saxony); 53, Müllenhof, Sagen, etc., p. 164, No
224 (Ditmarsch). =Netherlandish.= 54-56, Pol de Mont, in Volkskunde,
II, 129-31. =Danish.= 57, Grundtvig, Danmarks g. Folkeviser, III, 873.
=Icelandic.= 58, Árnason, Íslenzkar þjóðsögur, I, 280 ff.; Maurer,
Isländische Volkssagen, p. 73 f.
A lover, who has long been unheard of, but whose death has not been
ascertained, roused from his last sleep by the grief of his mistress
(which in some cases drives her to seek or accept the aid of a spell),
comes to her by night on horseback and induces her to mount behind him.
As they ride, he says several times to her, The moon shines bright, the
dead ride swift, art not afraid? Believing him to be living, the maid
protests that she feels no fear, but at last becomes alarmed. He takes
her to his burial-place, and tries to drag her into his grave; she
escapes, and takes refuge in a dead-house (or house where a dead man is
lying). The lover pursues, and calls upon the dead man within the house
to give her up, which in most cases, for fellowship, he prepares to do.
At the critical moment a cock crows, and the maid is saved.
Some of the tales are brief and defective, some mixed with foreign
matter. The predominant traits, with a few details and variations, may
be briefly exhibited by a synoptical analysis.
A pair of lovers are plighted to belong to each other in life and
death, 50, 51, 57; whichever dies first is to visit the other, 48; the
man, at parting, promises to come back, alive or dead, 25, 26. The man
dies in war, 1, 2, 10, 14, 15, 17, 20-22, 25-29, 31, 32, 36, 39, 42,
45-52; the maid, her lover not returning, grieves incessantly, 4, 6-13,
15-18, 28, 29, 32, 49, 53. (The return of the lover is enforced by a
spell, recommended or conducted by an old woman, 22, 28, 36, 39, 41,
45, advised by a priest, 20, 21, worked by the maid, 33; a dead man’s
head, bones, carcass, boiled in a pot, 15-17, 20, 21, 22, 27, 39, a
piece of the man’s clothing, 28, a cat burned in a red-hot oven, 33.)
The man comes on horseback, mostly at night; she mounts with him, 1-5,
8-12, 14-23, 25-32, 36-44, 46, 48-53, 56-58, taking with her a bundle
of clothes, smocks, etc., 1, 6, 7, 9, 16, 17, 21, 23, 24, 26, 32, 35,
36, 38. (There are two horses, 45; they go off in coach or wagon, 6,
7, 13, 24, 33; stag for horse, 47; afoot, 35, 54.) As they go, the man
says or sings once or more, The moon shines bright, the dead ride fast,
art thou afraid? and she answers that with him she has no fear. The
verses occur in some form in all copies but 2, 3, 9, 11, 13, 15, 29,
32, 33, 38, 40, 51, and are mostly well preserved. (It is a voice from
the churchyard in 38.)
Arrived at a grave in a churchyard, the man bids the maid to go in, 2,
4-6, 8, 10-17, 20, 21, 23, 24, 26, 32, 36, 39; she says, You first, 2,
4-6, 8, 11-17, 23, 24, 32, 36, 39; she will first throw him her things,
and then come, 14; she throws in her bundle of things, 1, 5, 23, 24,
26, 32, 36; hands them to him one after another, 6, 7, 16, 17; tells
him to take her by the hands, and reaches out to him the sleeves of
her gown, 2, 12; gives him the end of a piece of linen or of a ball of
thread to pull at, 16, 19; asks him to spread her kerchief in the grave
to make the frozen ground softer, 27, all this to gain time. He tears
her things in the grave, 9, 13, 24; he seizes her apron, clutches her
clothes, to drag her in, 4, 8, 21, 22, 25, 43, 44, 47, 48 (in 4 she
cuts the apron in two, in 8 tears her gown off, in 25, 43, 44, 48, her
apron parts); she runs off, 1-9, 11, 13-17, 20-27, 29, 30, 35, 36, 38,
39, 41, 45, 46, 48, 50; she throws down articles of dress to delay his
pursuit, he tears them, 9, 13, 18, 38.
The maid takes refuge in a dead-house (or house in which there is a
dead body, or two, or three), 1-4, 6, 8, 11-15, 17, 18, 20-22, 24-27,
29, 30, 32, 34-36, 38, 39, 41, 45, 46 (malt-kiln, 5, house of vampire,
16). She climbs on to the stove, or hides behind it, 6-8, 11, 13-16,
21, 24, 26, 32, 34, 36, 39, 41. The dead lover calls to the dead in the
house to open, hand her out, 4, 6, 8, 11, 17, 20-22, 25, 26, 27, 29,
30, 32, 35, 36, 38, 39, 41, 45, 46, 48, 50, 57 (to seize the girl, 11;
to tear her to pieces, 24); the dead man within is disposed to help his
comrade, makes an effort so to do, 11, 29, 34, 41, 45, 46; opens the
door, 6, 21, 36, 39; is prevented from helping because the maid has
laid her cross, scapular, on his coffin, 4, 17; (two dead, because she
has laid her rosary on the feet of one, her prayer-book on the feet of
the other, 32;) the maid throws at him beads from her rosary, which
check his movements until the string is exhausted; the maid puts up
three effectual prayers, 35; Ave sounds, 48; by the maid’s engaging his
attention with a long tale, 38; because his wife or a watcher knocks
him on the head, and orders him to lie where he is, 20, 30; because
his wife has turned him over on his face, 57. In a few cases the dead
man within inclines to protect the maid, 1, 22, 25; the two get into a
fight, 1, 13-15, 17, 26, 36 (quarrel, 7). The cock crows, and the dead
fall powerless, return to their places, turn to pitch, vanish, 1, 2, 3,
5, 8, 10, 11, 13-15, 17, 24, 26, 27, 29, 30, 32, 34-36, 39, 41, 45, 46,
and the maid is saved.[55]
In some of the tales of this section the maid is not so fortunate: in
6, the two dead take her by the legs and tear her asunder; in 21, the
lover tears her, the dead man in the house having surrendered her. In
39, the lover, having been let in, says to the other dead man, Let us
tear her to pieces, and is proceeding to do so, but is stopped by the
cock. She dies of shock, or after a few days, 8, 11, 13, 16, 17, 29,
31, 32, 36.
The maid’s escape assured, in one way or another, the man calls to
her, Your good luck: I would have taught you to weep for the dead (he
had been tearing her things in the grave, and her shift, which she had
dropped to delay his pursuit), 9. Your body would have been rent into
as many bits as your smocks (a bit was found on every grave in the
churchyard), 22, 35. I would have torn you into a thousand tatters.
I was all but saved, and have had to come so far! Then he warned her
never again to long for the dead, 42. I would have taught you to
disturb the dead, 41. It was her luck, for she would have been torn
into a thousand bits, like her apron. Let this be a warning to you,
says Our Lady to the girl, never to mourn so much again for the dead,
for he had a hard journey to make, 43. He tore a portion of her gown
into a thousand pieces, and laid one on every grave, saying, You were
not so much a simpleton to mourn for me as I was not to tear you to
pieces, 30. There was on every grave a bit of her gown, from which we
may see how it would have fared with her, 31.
Resentment for the disturbance caused by the maid’s excessive grief is
expressed also in 6, Since you have wept so much for me, creep into my
grave; in 12, she has troubled him by her perpetual weeping, he will
take her where he dwells; in 20, Another time do not long for my dead
body; in 27, You have mourned for me, now sleep with me; in 32, the
maid’s continual weeping is a burden to her lover in his grave. In 40,
the remonstrance is affectionate and like (suspiciously like) that of
Helgi and of Sir Aage (II, 235).
In some copies the story closes at the grave, 2, 10, 19, 23, 28, 40,
43, 44, 47, 49, 51, 52, 54, 56, 58; many of these, however, are brief
and defective. The man lays himself in the grave, which closes, she
flies, 23; he descends into the grave and tries to draw her in by her
apron, the apron tears, she faints, and is found lying on the ground
the next morning, 43; he descends into the grave and tries to draw her
after him, she resists, the grave closes, and she remains without, 47;
he disappears, she is left alone, 49, 52. She goes into the grave,
remains there, and dies, 10; the grave opens, he pushes or drags her
in, 54; both disappear in the grave, 56; the horse rushes three times
round in a ring, and they are nowhere, 53; she is killed by the man,
her flesh torn off, and her bones broken, 51.
The maid finds herself in a strange land, 44, 47; she is among people
of different language, 26, 28, 29, 45; nobody knows of the place which
she says she came from, 27; she is a long time in getting home, and
nobody knows her then, 25; she is years in going home (from two to
nine), 20, 22, 28, 46.
The man and woman are a married pair in 2, 3, 23, 44, 45; in 44, the
woman has married a second time, contrary to a mutual agreement. 10,
12, 16, 18, 19, have a taint of vampirism, and in 2 a stake is driven
through the body of the man after he has returned to his grave, as was
done with vampires.
In 31, the maid throws herself from the horse, the man, holding to her
gown, tears off a large piece of it, and bits of the gown are found
on every grave the next day; so in the Cornish tale, when the maid is
pulled from the horse, the man retains a portion of her gown, and a
piece is found on his grave. In 27, the maid’s kerchief is found in the
man’s grave, and serves to corroborate her story; so in the Suffolk
tale, with the handkerchief which the maid had bound round the man’s
head. 55, a brief and corrupted copy, compares very well with the
Suffolk tale for pointlessness. The man comes on his father’s horse,
takes the girl on, and rides with her all round the village. Towards
morning he brings the maid back to her chamber, and the horse to the
stable, and goes where he came from.
Ballads. Little =Russian.= 1, 2, Golovatsky, I, 83, No 40; II, 708, No
12. =Slovenian.= 3, Valjavec, as before, preface, p. IV. =Polish.= 4,
Grudziński, p. 25, ‘Helene,’ Galicia; 5, Max Waldau (G. v. Hauenschild)
in Deutsches Museum, 1851, I, 136, No 5, Kreis Ratibor, Oberschlesien;
6, Mickiewicz, ‘Ucieczka’ (Works, Paris, 1880, I, 74), based on a
ballad sung in Polish in Lithuania. =Bohemian=, Moravian. 7, Erben,
1864, p. 471; 8, Bartoš, 1882, p. 150; 9, 10, Sušil, p. 791, p. 111,
No 112. =Gypsy.= 11, Wlisłocki, as before, p. 104, South Hungary.
=German.= 12, Schröer, Ein Ausflug nach Gottschee, Wiener Akademie,
Sitzb. d. phil.-hist. Classe, LX, 235.[56]
As I have already said, the ballads seem less original than the tales;
that is, to have been made from tales, as ‘The Suffolk Miracle’ was. 5,
7, 10, are of the vulgar sort, like the English piece, 7 having perhaps
received literary touches. In none of them does the maid fly and the
man pursue; the catastrophe is at the grave.
The lovers have sworn mutual faith, 5, 10; the maid wishes that the man
may come back, dead or living, 3, 10, 12; even from hell, 6.
The man has fallen in war, 1, 2, 6, 7, 8, 9, 12.
A spell is employed to bring him back, 1, 2, 6, 9.
He comes on a horse, 3, 4, 6-8, 11, 12; in a wagon, 5, 10; on foot, 1,
2, 9.
The verses found in the tales occur in 3 (three times), 4, 5, 6, 12; in
10, a voice from the clouds cries, What hast thou done, to be going off
with a dead man?
She is taken to a graveyard. The grave closes over the man, she is left
without, 3, 5, 8, 10, 12; both go into the grave, 4, 6, 7, 11.
She breathes out her soul on the grave, 3; she finds herself in the
morning in a strange land, of different speech, is seven years in going
home, 12.
1, 2, 9, are varieties of one ballad. The man asks the maid to go out
with him to the dark wood, 1; to the cherry-tree (trees), 2, 9. After a
time, he tells her to go back, he is no longer her lover, but a devil;
she turns to dust, 1; the cock crows, he tells her to go home and not
look round, to thank God for the cock, because he should have cut off
her head, he is no longer her lover but a devil, 2. In 9, the man says
his head aches badly, for, after mouldering six years, she had forced
him to rise by her spell. The maid tells her mother that her lover is
buried under the cherry-trees, mass is said for him; he returns to give
thanks for his redemption from hell.[57]
Reverting now to the English tales, we perceive that the Cornish is a
very fairly well-preserved specimen of the extensive cycle which has
been epitomized. Possibly the full moonshine is a relic of the weird
verses which occur in so many copies. The hemp-seed rite is clearly a
displacement and perversion of the spell resorted to in five Slavic
and two German copies to compel the return of the dead man. It has no
sense otherwise, for the maid did not need to know who was to be her
lover; she was already bound to one for life and death. The ballad was
made up from an imperfect and confused tradition. In pointlessness and
irrationality it easily finds a parallel in the 55th tale, as already
remarked. The hood and safeguard brought by the ghost represent the
clothes which the girl takes with her in numerous copies. Remembering
the 9th ballad, where the _revenant_ complains of a headache, caused by
the powerful enchantment which had been brought to bear on him, we may
quite reasonably suppose that the headache in ‘The Suffolk Miracle,’
utterly absurd to all appearance, was in fact occasioned by a spell
which has dropped away from the Suffolk story, but is retained in the
Cornish.
M. Paul Sébillot has recently (in 1879) taken down, in that part of
Brittany where French is exclusively spoken, a tale which is almost
a repetition of the English ballad, and which for that reason has
been kept by itself, ‘Les Deux Fiancés,’ Littérature orale de la
Haute-Bretagne, p. 197. A young man and a maid have plighted themselves
to marry and to be faithful to one another even after death. The young
man, who is a sailor, goes on a voyage, and dies without her learning
the fact. One night he leaves his tomb, and comes on a white mare,
taken from her father’s stable, to get the girl, who is living at a
farm at some distance from her own home. The girl mounts behind him: as
they go he says, The moon is bright, death is riding with you, are you
not afraid? and she answers, I am not afraid, since you are with me. He
complains of a headache; she ties her handkerchief round his head. They
arrive at the girl’s home; she gets down and knocks. To an inquiry,
Who is there? she replies, Your daughter, whom you sent for by my
husband that is to be. I have come on horseback with him, and lent him
my handkerchief on the way, since he had none. He is now in the stable
attending to the horse. They go to the stable and find the mare in a
sweat, but no man. The girl then understands that her lover is dead,
and she dies, too. They open the man’s grave to bury the two together,
and find the girl’s handkerchief on his head. This is the English
ballad over again, almost word for word, with the difference that the
lover dies at sea, and that the substance of the notable verses is
preserved.
In marked and pleasing contrast with most of the versions of the
tale with which we have been dealing, in so many copies grotesque
and ferocious, with a lover who, from impulses not always clear,
from resentment sometimes that his comfort has been disturbed by her
unrestrained grief, sometimes that she has been implicated in forcing
him by magic to return to the world which he had done with, is bent on
tearing his lass to pieces, is a dignified and tender ballad, in which
the lovers are replaced by brother and sister. This ballad is found
among the Servians, Bulgarians, Greeks, and Albanians, and is very
common among the Greeks, both of the mainland and the islands.
=Servian.= Karadžić, II, 38, No 9, ‘Yovan and Yelitza;’ Talvj,
Volkslieder der Serben, 1853, I, 295; Dozon, Chansons p. bulgares,
p. 321; Bowring, Servian Popular Poetry, p. 45. Davidović, pp.
10-14, ‘Yovo and Mara,’ No 7; Krek, in Magazin f. d. Litt. d. In- u.
Auslandes, p. 652, No 8.
=Bulgarian.= Dozon, Chansons p. bulgares, p. 130, No 7, p. 319.
Kačanovskij, p. 120, No 48; Krek as above, p. 653 f., No 10, ‘Lazar and
Yovana.’ Miladinof, 1861, 1891, p. 145, No 100, ‘Lazar and Petkana;’
Krek, p. 653, No 9. Miladinof, p. 317, No 200, ‘Elin Doika;’ Rosen,
Bulgarische Volksdichtungen, p. 247, No 103. ‘Elin Doina,’ Popov, in
Periodičesko Spisanie, II, 162, lacks the last half; Krek, p. 654, No
11. ‘Yana,’ Miladinof, p. 339, No 229, Rosen, p. 116, No 32, diverges
considerably from the others.
=Romaic.= Twenty copies, including all previously published, Polites,
in Δελτίον τῆς ἱστορ. κ. ἐθνολ. ἑταιρ. τ. Ἑλλάδος, II, 193-261, 552-57,
1885-87. Kanellakes, Χιαχὰ Ἀνάλεκτα, p. 37, No 27, p. 58, No 49, 1890.
Ζωγραφεῖος Ἀγών, I, 308, No 30, 397, No 17, 1891. ‘Constantine and
Arete’ (mostly). C. B. Sheridan, The Songs of Greece, p. 207; C. C.
Felton, in English and Scottish Ballads, Boston, 1860, I, 307; Lucy M.
J. Garnett, Greek Folk-Songs, etc., 1885, p. 126.
=Albanian.= (‘Garentina,’ = Arete.) De Rada, Rapsodie, etc., p. 29
(I, xvii); Dozon, Ch. p. bulgares, p. 327, De Grazia, C. p. albanesi,
p. 138. Camarda, Appendice al Saggio, etc., p. 98 (fragment, last
half), p. 102. Dora d’ Istria, Revue des Deux Mondes, LXIII, 407. La
Calabria, II, 55, 1890.--Tale, Metkos, Ἀλβανικὴ Μέλισσα, p. 189, No 12,
translated in Dozon, Contes albanais, p. 251.[58]
A mother has nine sons and an only daughter. The daughter is sought in
marriage; the mother and eight of her sons wish to match her in their
neighborhood, but the youngest son (whom it will be convenient to call
Constantine) has his way, and she is given to a suitor from a distant
country (often Babylon). The brothers are to visit their sister often
(Slavic); Constantine promises to bring her to his mother should there
be special occasion. A fatal year comes, and all the brothers die of
the plague (in a few cases they are killed in war). The mother chants
laments at the graves of the eight, strews flowers, burns candles,
gives alms for their souls; at Constantine’s grave she tears her hair.
She curses Constantine for the distant marriage, and demands of him her
daughter. God takes pity (on mother, sister, or son). The stone over
his grave (his coffin, a board for the grave, his shroud, a cloud) is
turned into a horse; he goes to his sister and informs her that she is
wanted by her mother. The sister will put on gold for joy or black for
grief; she is to come as she stands. (He tries to prevent her going, in
the Servian copies, where his object is to pay the promised visit.) On
the way the sister notes that Constantine is gray with mould, he smells
of earth, his skin is black, his eyes are dull, his hair is dusty,
his hair or teeth fallen out; why is this? He has been at work in the
ground, has been building nine white houses, there has been dust,
wind, and rain on the road, he has had long watches, sore sickness. He
smells of incense, too; that is because he has been at church lately.
Birds call out in human voice as they pass, What wonder is this, the
living travelling with the dead! (Thrice in Romaic, 9, 10, and the
Albanian tale, twice in Romaic 13.) The sister asks Constantine if he
hears what the birds are saying; he hears, they are birds, let them
talk. They near their mother’s house; a church is hard by. Constantine
bids his sister go on; he must say a prayer in the church, or pay a
votive candle, find a ring which he lost there, see to his horse; he
disappears. The house is locked, the windows shut, there is every
sign of desolation and neglect. The daughter knocks; the mother, from
within, cries, Avaunt, Death! I have no more children! The daughter
cries, It is I.[59] Who brought you? Constantine. Constantine is dead;
(has been dead three days, forty days, five months, twelve years!) The
mother opens, they die in a mutual embrace (the mother dies, one dies
within, one without).
‘Le Frère de Lait,’ Villemarqué, Barzaz Breiz, No 22, p. 163, ed. 1867,
has no claim to be associated with these ballads, the only feature
in which it has similarity not being genuine. Compare ‘La Femme aux
deux Maris,’ Luzel, Gwerziou Breiz-Izel, I, 266-71, two versions, and
II, 165-69, two more; and see Luzel, De l’authenticité des chants du
Barzaz-Breiz, p. 39.
1
A wonder stranger ne’r was known
Then what I now shall treat upon.
In Suffolk there did lately dwell
A farmer rich and known full well.
2
He had a daughter fair and bright,
On whom he plac’d his chief delight;
Her beauty was beyond compare,
She was both virtuous and fair.
3
A young man there was living by,
Who was so charmëd with her eye
That he could never be at rest,
He was with love so much possest.
4
He made address to her, and she
Did grant him love immediately;
Which when her father came to hear,
He parted her and her poor dear.
5
Forty miles distant was she sent,
Unto his brother’s, with intent
That she should there so long remain
Till she had chang’d her mind again.
6
Hereat this young man sadly grievd,
But knew not how to be relievd;
He sighd and sobd continually
That his true love he could not see.
7
She by no means could to him send
Who was her heart’s espousëd friend;
He sighd, she grievd, but all in vain,
For she confin’d must still remain.
8
He mournd so much that doctor’s art
Could give no ease unto his heart;
Who was so strang[e]ly terrified,
That in short time for love he dyed.
9
She that from him was sent away
Knew nothing of his dying-day,
But constant still she did remain;
To love the dead was then in vain.
10
After he had in grave been laid
A month or more, unto this maid
He comes about middle of the night,
Who joyd to see her heart’s delight.
11
Her father’s horse, which well she knew,
Her mother’s hood and safeguard too,
He brought with him to testifie
Her parents’ order he came by.
12
Which when her unckle understood,
He hop’t it would be for her good,
And gave consent to her straightway
That with him she should come away.
13
When she was got her love behind,
They passd as swift as any wind,
That in two hours, or little more,
He brought her to her father’s door.
14
But as they did this great haste make,
He did complain his head did ake;
Her handkerchief she then took out,
And tyed the same his head about.
15
And unto him she thus did say:
‘Thou art as cold as any clay;
When we come home, a fire wee’l have;’
But little dreamt he went to grave.
16
Soon were they at her father’s door,
And after she ne’r see him more;
‘I’le set the horse up,’ then he said,
And there he left this harmless maid.
17
She knockt, and strait a man he cryed,
‘Who’s there?’ ‘’Tis I,’ she then replyed;
Who wondred much her voice to hear,
And was possest with dread and fear.
18
Her father he did tell, and then
He stared like an affrighted man:
Down stairs he ran, and when he see her,
Cry’d out, My child, how cam’st thou here?
19
‘Pray, sir, did you not send for me,
By such a messenger?’ said she:
Which made his hair stare on his head,
As knowing well that he was dead.
20
‘Where is he?’ then to her he said;
‘He’s in the stable,’ quoth the maid.
‘Go in,’ said he, ‘and go to bed;
I’le see the horse well littered.’
21
He stared about, and there could hee
No shape of any mankind see,
But found his horse all on a sweat;
Which made him in a deadly fret.
22
His daughter he said nothing to,
Nor no one else, though well they knew
That he was dead a month before,
For fear of grieveing her full sore.
23
Her father to his father went
Who was deceasd, with this intent,
To tell him what his daughter said;
So both came back unto this maid.
24
They askd her, and she still did say
’Twas he that then brought her away;
Which when they heard they were amaz’d,
And on each other strang[e]ly gaz’d.
25
A handkerchief she said she tyed
About his head, and that they tryed;
The sexton they did speak unto,
That he the grave would then undo.
26
Affrighted then they did behold
His body turning into mould,
And though he had a month been dead,
This kercheif was about his head.
27
This thing unto her then they told,
And the whole truth they did unfold;
She was thereat so terrified
And grievd, she quickly after dyed.
28
Part not true love, you rich men, then;
But, if they be right honest men
Your daughters love, give them their way,
For force oft breeds their lives’ decay.
* * * * *
The Suffolk Miracle, or, A relation of a young man who a month after
his death appeared to his sweetheart and carryed her behind him fourty
miles in two hours time and was never seen after but in the grave.
To the tune of My bleeding heart, etc.
London: Printed for W. Thackery and T. Passenger. [1689. _The date
added by Wood._]
Roxburghe and Crawford: Printed by and for A. M[ilbourne], and sold by
the booksellers of Pye-corner
Pepys: Printed for F. C[oles], T. V[ere], J. W[right], J. C[lark], W.
T[hackeray], T. P[assinger].
* * * * *
=a.=
14^3, 25^1. handcherchief.
16^4. he set (O. B. left).
17^2. whose.
22^1. too.
24^4. others.
25^4. undoe.
=b.=
3^1. There was a young man.
4^1. addresses.
4^3. But when.
16^4. he set.
19^1. did not you.
19^3. hair stand.
27^2. did _wanting_.
FOOTNOTES:
[51] Mr W. E. A. Axon, in his Lancashire Gleanings, p. 261, speaks
of the story of the Spectre Bridegroom as having been current in the
neighborhood of Liverpool in the last century, both in an oral and a
printed form. But it is plain that what was current, either way, was
simply ‘The Suffolk Miracle.’ Of this I have a copy learned in the
north of Ireland in 1850 (and very much changed as to form), in which
the scene is laid “between Armagh and County Clare.”
[52] Popular Romances of the West of England, collected and edited by
Robert Hunt, First Series, pp. 265-72, dating from about 1830.
[53] A portion (or portions) of a Low German tale of this class, the
verses and a little more, was the basis of Bürger’s ‘Lenore,’ composed
in 1773. (As to the particulars of the traditional basis, Erich Schmidt
seems to me undoubtedly right: Charakteristiken, p. 219 f.) At the end
of the last century, when ‘Lenore’ became well known in England through
half a dozen translations, it was maintained that Bürger had taken
the idea of his ballad from ‘The Suffolk Miracle,’ with which he was
supposed to have become acquainted through the copy in Old Ballads,
1723. See The Monthly Magazine, 1796, II, 603. But it is nearly certain
that Bürger had not seen, and never saw, the “Old Ballads” of 1723.
In 1777 Boie made him acquainted with a book of that title, but this
was in all probability Evans’s first collection, which appeared in
that year. See Strodtmann, Briefe von und an G. A. Bürger, II, 85, 87.
Bürger knew ‘Sweet William’s Ghost’ from Percy’s Reliques, and took a
hint or two from that, besides the lover’s name.
[54] I. Sozonovič, Bürger’s ‘Lenore,’ and the related matter in
European and Russian popular poetry, Warsaw, 1893 (in Russian).
Professor Wollner has furnished me translations of some twenty-five
pieces in Sozonovič. See, for German versions of many of the Slavic
tales and ballads, Wollner, in Archiv für slavische Philologie, VI,
243-59; Krek, in the same, X, 357-59, and in Magazin für die Litteratur
des In- u. Auslandes, 1887, CXII, 629-32, 650-54; Grudziński, Lenore in
Polen, 1890, p. 13 ff.; Treichel, in Zeitschrift für Volkskunde, II,
144.
[55] 30, 31, 32, 50, have curious popular traits. In 30, 32, the
dead man (men) within being unable to render aid, the lover calls to
yarn spun on Thursday (on Thursday after the evening meal) to open.
A watchman tells the yarn to stay where it was hanged; the girl cuts
the skein in two with an axe. In 31 there is no corpse in the house;
the lover calls on a ball of thread and a broom, ‘ohne Seele’ (with
no centre-piece, no handle) to open. In 50 the dead man within cannot
help the man without because a broom is standing on its handle; so the
man without calls on a skein of yarn, a pot-hook, a ball of thread, to
open. For various reasons these appeals prove bootless.
[56] For German versions of most of the Slavic pieces, Grudziński,
as before, p. 27; Wollner, as before, pp. 250, 255 f., 258; Krek, as
before, p. 652. 7 also in A. Waldau’s Böhmische Granaten, II, 254, No
354.
‘Lenore’ in Wunderhorn, II, 19, 1808, is to be rejected as spurious, on
internal and external evidence. See Pröhle, G. A. Bürger, Sein Leben
und seine Dichtungen, 1856, p. 100 f.
[57] In 11 we have to do with a married pair, as in several of the
tales. In tale 44 the woman has been twice married, and her first
husband comes for her.
[58] No filiation is implied in the above arrangement of the ballads.
[59] The mother demands tokens of her identity, Romaic 11, 12, 21, 22,
Albanian 4, 5. Cf. II, 215
273
KING EDWARD THE FOURTH AND A TANNER OF TAMWORTH
=a.= Wood, 401, fol. 44, Bodleian Library.
=b.= Douce, I, 109, Bodleian Library.
=c.= Roxburghe, I, 176, 177; Chappell, Roxburghe Ballads, I, 529.
The ballad is also in the Pepys collection, II, 129, No 113, and there
are two copies in the Euing collection, Nos 273, 274.
The following entries occur in the Stationers’ Registers:
1564, September or October, William Greffeth licenced to print a book
intituled ‘The story of Kynge Henry the IIIJ^th and the Tanner of
Tamowthe.’ Arber, I, 264.
1586, August 1, Edward White, ‘A merie songe of the Kinge and the
Tanner.’ Arber, II, 451.[60]
1600, October 6, William White, by the consent of Widow Danter, ‘A
merye, pleasant and delectable history betwene Kinge Edward the
IIIJ^{th} and a Tanner of Tamworthe,’ and, by like consent of the
Widow Danter, “the bal[l]ad of the same matter that was printed by her
husband John Danter.” Arber, III, 173.
1615, December 9, John Trundle, for a ballad of ‘The King and the
Tanner.’ Arber, III, 579.
1624, December 14, Master Pavier, John Wright, and others, a ballad,
‘King and Tanner.’ Arber, IV, 131.
The ballad mentioned in the entry under the year 1600 is unquestionably
our ballad, or an earlier form of it. No copy from the first half of
the seventeenth century is known to be preserved. The “delectable
history” entered under the same date is extant in an edition of
1596, printed by John Danter, and in one of 1613, printed by William
White.[61] The ballad, as we have it, was made by abridging the
fifty-six stanzas of the history to thirty-nine, with other changes.
The history itself has its predecessor, and, as Ritson remarks, its
undoubted original, in ‘The King and the Barker,’[62] between which and
the history, though the former has come down to us in a sadly mutilated
condition, and has been freely treated in the remodelling, there still
remain a few verbal correspondences. Several good points are added in
the history, and one or two dropped.
‘King Edward the Fourth and Tanner of Tamworth,’ in Percy’s Reliques,
1765, II, 75, was compounded from Danter’s history, 1596, and a copy
“in one sheet folio, without date, in the Pepys collection.”[63]
King Edward, while out a-hunting, sees a tanner coming along the way,
and takes a fancy to accost him. Leaving his lords under a tree, he
rides forward and asks the tanner the way to Drayton Basset; the tanner
directs him to turn in at the first pair of gallows. The king presses
for a civil answer; the tanner bids him be gone; he himself has been
riding all day and is fasting. The king promises meat and drink of
the best for his company to Drayton Basset; the tanner makes game of
the offer, and tries to get away, but in vain. The king now proposes
to change his horse for the tanner’s mare; the tanner demands a noble
to boot, nor shall a cowhide which he is riding on go with the mare.
The cowhide thrown on to the king’s saddle frightens the horse and the
tanner is pitched off; after this he will not keep the horse, but the
king in turn exacts a noble to boot. Then the king sounds his horn, and
his attendants come riding in; the tanner takes the whole party to be
strong thieves, but when he sees the suite fall on their knees he would
be glad to be out of the company. ‘A collar! a collar’ cries the king
(to make the tanner esquire, but this is inadvertently left out in the
ballad). ‘After a collar comes a halter,’ exclaims the unhappy tanner.
But the king is graciously pleased to pay for the sport which he has
had by conferring on the tanner an estate of three hundred pound a
year;[64] in return for which his grateful liegeman engages to give him
clouting-leather for his shoon if ever he comes to Tamworth.
Next to adventures of Robin Hood and his men, the most favorite
topic in English popular poetry is the chance-encounter of a king,
unrecognized as such, with one of his humbler subjects. Even in the
Robin Hood cycle we have one of these meetings (in the seventh and
eighth fits of the Little Gest), but there the king visits Robin Hood
deliberately and in disguise, whereas in the other tales (except the
latest) the meeting is accidental.
The most familiar of these tales are ‘The King and the Tanner,’
and ‘The King and the Miller;’ the former reaching back beyond the
sixteenth century, the latter perhaps not beyond the seventeenth, but
modelled upon tales of respectable antiquity, of which there is a
specimen from the early years of the thirteenth century.[65]
In the history or “ballad” of ‘The King and the Miller,’ or, more
specifically, ‘King Henry Second and the Miller of Mansfield,’ the
king, while hunting in Sherwood, loses his nobles and is overtaken by
night; he meets a miller, and after some colloquy is granted a lodging;
is entertained with bag-puddings and apple-pies, to which is added a
course of ‘light-foot,’ a pasty of the king’s deer, two or three of
which, the miller tells his guest in confidence, he always keeps in
store. The nobles recover the king at the miller’s the next morning;
the miller looks to be hanged when he sees them fall on their knees;
the king dubs him knight. The king has relished his night with the
miller so much that he determines to have more sport out of him, and
commands the attendance of the new knight with his lady and his son
Dick at court on St. George’s day. The three jet down to the king’s
hall on their mill-horses. In the course of the dinner the king
expresses a wish for some of their light-foot; Dick tells him that it
is knavery to eat of it and then betray it. Sir John Cockle and Dick
dance with the court-ladies, and the buffoonery ends by the king’s
making the miller overseer of Sherwood, with a stipend of three hundred
pound, to which he attaches an injunction to steal no more deer.[66]
Of the older poems, ‘John the Reeve’ (910 vv.) may be noticed first,
because it has a nearly complete story, and also resemblance in details
with ‘The King and the Tanner,’ or ‘The King and the Miller,’ which
two others of perhaps earlier date have not. ‘John the Reeve’ is now
extant only in the Percy MS. (p. 357, Hales and Furnivall, II, 550).
Since there had been but three kings of the name of Edward (v. 16), it
must have been composed, as Mr Hales has remarked, between the death
of Edward III and the accession of Edward IV, 1376-1461, and forms
of language show that the Percy text must be nearer the end than the
beginning of this period.[67]
Edward Longshanks, while hunting, is separated from all his train but
a bishop and an earl. Night comes on, and they know not where they
are, and the weather is cold and rough. As they stand considering
which way to turn, a stout carl rides by; they beg him to take them to
some harbor. The fellow will at first have nothing to do with them,
but finally shows a disposition to be accommodating if they will swear
to do him no harm; all that he can promise them, however, is beef and
bread, bacon a year old, and sour ale; as for a good fire, which the
king would particularly like, they cannot have that, for fuel is dear.
They ride on to a town, light at a comely hall, and are taken into a
room with a bright fire and candles lighted. The carl, who has already
described himself as John the Reeve, husbandman and the king’s bondman,
inquires of the earl who the long fellow may be, and who the other in
the sark: the first, he is told, is Piers, the queen’s chief falconer,
the other a poor chaplain, and the earl himself a sumpterman. ‘Proud
lads, and I trow penniless,’ is John’s comment; he himself, though not
so fine, has a thousand pound and more. They move on to the hall, and
are civilly received by the goodwife. John marshals the company, now
increased by two daughters of the house, and by Hodge and Hob, two
neighbors, setting the three strangers and his wife at the head of the
table, his daughters farther down, and taking the end himself with his
neighbors. Bean-bread, rusty bacon, lean salt beef a year old, and sour
ale are brought in, and every one has a mess. The king murmurs, John
says, Thou gettest no other; the king coaxes, John will not give them
a morsel unless they swear never to tell of him to Edward. All three
pledge their troth, and then come in fine bread, wine red and white, in
silver cups, the boar’s head, capons, venison,--everything that king
could have or crave. After the supper, John, Hob, and Hodge perform
a rustic dance; King Edward (who gets his shins kicked) never had so
merry a night. In the morning they hear mass and eat a good breakfast,
for which they promise warison, and then the king takes leave and
rides to Windsor. The lords have a good story to tell the queen; she
prays the king to send for the reve. John is convinced that he has
been beguiled by his guests, but arms himself with such as he has,
and, after a huge libation with Hodge and Hob, sets forth. The porter
at the palace will not let him in; John knocks him over the crown and
rides into the hall. Neither before this nor then will he vail hat or
hood. [The passage in which the reve discovers that Piers falconer was
the king has dropped out.] John bears himself sturdily; the king can
punish him, but the king is honorable and will keep his word, and may
remember the promised warison. The king gives thanks for the hot capons
and good wine, the queen urges that the reve should be promoted. The
king, nothing loath, makes John a gentleman, and gives him his manor, a
hundred pound and a tun of wine yearly, then takes a collar and creates
him knight. John blenches a little at the collar; he has heard that
after a collar comes a rope; but he recovers his nerve after supping
off a gallon of wine at the table. It is now the bishop’s turn to do
something; he promises his good offices for John’s two sons and two
daughters; these, in the end, are well disposed of, and Hodge and Hob
are made freemen. John ever after keeps open board for all guests that
God sends him.
The tale of Rauf Coilyear,[68] shortly after 1480, has for its
personages Charles the Great and a charcoal-burner. Charles, on his
way to Paris from St Thomas, is isolated from his cortége by a fierce
storm; night has come on and he is in a strait for shelter. By good
luck Rauf makes his appearance, a churl of prodigious inurbanity, but
ready to take in any good fellow that is ‘will of his way.’ Arrived at
his house, Rauf calls to his wife to make a fire and kill capons. When
supper is dight, the guest is told to give the goodwife his hand and
take the head of the table. Charles hangs back; the churl, who has once
before criticised his manners, hits him under the ear and sends him
sprawling to the floor. There is a plenteous supper, in which venison
is not lacking. The carl tells the king that the foresters have
threatened to send him to Paris for deer stealing, but he means to have
enough for himself and a guest in spite of them. Then after wine they
sit by the fire and the collier tells many a tale. Charles is affable;
Rauf asks him his name and where he lives; Wymond is his name, and he
lives with the queen, in fact, is of her bed-chamber; if Rauf will come
to court he shall have the better sale for his fuel. Charles is put to
bed in a handsome room, and rises so early that he has to waken his
host to take leave. He is urged not to go so soon, but to-morrow is
Yule and every officer of the court must be at his post. He wishes to
pay the goodwife for her good entertainment; Rauf will not hear of such
a thing. Come to court to-morrow, says the king; I want coals myself.
Roland and Oliver and a thousand more have been wandering all night in
search of their lord, and thank God when they recover him on the road
to Paris. Rauf sets out for the court with his coals, according to
appointment; the king has him in mind, and sends out Roland to bring
in such man as he may meet. Roland finds the collier intractable, and
has to return without him. The king is displeased, and Roland is on the
point of going again, when he learns from a porter that there is a man
with a horse and baskets at the gate who will not be turned away. Rauf
is let in; he gives his horse in charge to the porter, and pushes into
the hall to find Wymond, and after being shoved about a good deal, gets
sight of him, dressed in cloth of gold, and clearly a much greater man
than he had called himself; he is daunted by all the splendor; if he
could but get away, nothing should bring him to the court again. The
king then tells the story of his night at Rauf’s, not pretermitting the
earl’s rough behavior. The lords laugh, the knights are for hanging
him; the king thinks he owes better thanks, and dubs Rauf knight,
assigns him three hundred a year, and promises him the next fief that
falls vacant.[69]
‘King Edward Third and the Shepherd,’ MS. of about 1450, Cambridge
University Library, Ff. 5. 48 b, 1090 vv.[70]
The king, while taking his pleasure by a river-side one morning, meets
Adam, a shepherd, and engages in talk with him. The shepherd complains
of the king’s men, who help themselves to his beasts, sheep, hens, and
geese, and at best pay with a tally. Edward is concerned for the king’s
good fame; he is a merchant, but has a son with the queen who can get
any boon of her, and the shepherd shall have what is due him. That is
four pound two, says Adam, and you shall have seven shillings for your
service. It is arranged that the shepherd shall come to court the next
day and ask the porter for Joly Robyn. The king is kept a long time
by the shepherd’s stories, but not too long, for when he is invited
to come home and take a bit to eat he accepts with pleasure. They see
many a coney, hart, and hind, on their way, and the king tries to put
up Adam, who has been bragging of his skill with the sling, to kill a
few; but the man, as he says, knows very well the danger of poaching,
and never touches anything but wild fowl. Of these they have all sorts
at their meal, and two-penny ale. Before they set to drinking, Adam
instructs the king in an indispensable form: he that drinks first must
call out ‘passilodion,’ and the respondent ‘berafrynd.’ Edward praises
the dinner, but owns to a hankering for a little game. Can you keep a
secret? asks the shepherd; indeed he can. Upon this assurance, Adam
fetches pasties of rabbits and deer; of these he is wont to kill more
than he himself needs, and sends presents to gentlemen and yeomen, who
in return furnish him with bread, ale, and wine. Wine follows: Edward
calls ‘passilodion;’ Adam is ready with ‘berafrynd.’ The king now takes
leave, but before he goes the shepherd shows him a room underground
well stored with venison and wine, and they have one draught more.
The next day the shepherd goes to court and asks the porter for Joly
Robyn. The king has prepared his lords for the visit, and directed them
to call him by that name. Adam is paid his four pound two, and offers
Robyn the promised seven shillings for his mediation. Robyn will take
nothing; he would do much more than that for love; Adam must dine with
him, and is placed at the head of a table. The king sends the prince
to Adam for a bout of passilodion; Adam says the merchant has betrayed
him, and wishes he were out of the place. A squire is now ordered to
tell Adam that Joly Robyn is the king. Adam puts down his hood, which
up to this time he would do for nobody,[71] falls on his knees, and
cries mercy. The rest is wanting, but we may be certain that Adam was
knighted and presented with an estate.
‘King Edward and the Hermit,’ MS. Ashmole 6922, of about 1450, a
fragment of 522 vv.[72]
The king, hunting in Sherwood, follows a remarkably large deer till he
loses himself. By the favor of St Julian, he discovers a hermitage;
he asks quarters for the night; the hermit lives on roots and rinds,
and such a lord would starve with him, but he yields to urgency. The
guest must take such as he finds, and that is bread and cheese and thin
drink. King Edward expresses his surprise that the hermit should not
help himself out with the deer; the hermit is much too loyal for that,
and besides, the peril is to be considered. Still the king presses for
venison; no man shall know of it; the hermit, convinced that he is
safe with his company, brings out venison, salt and fresh, and then a
four-gallon pot. The king is taught to drink in good form; when one
calls ‘fusty bandyas,’ the other must come in with ‘stryke pantere;’
and thus they lead holy life. Such cheer deserves requital; if the
hermit will come to court, where his guest is living, he has only to
ask for Jack Fletcher, and they two will have the best that is there;
the ‘frere,’ though not eager to close with this proposal, says he will
venture a visit. To show Jack more of his privity he takes him into his
bedroom and gives him a bow to draw; Jack can barely stir the string;
the frere hauls to the head an arrow an ell long. Then, wishing that he
had a more perfect reliance on Jack’s good faith, the hermit exhibits
his stock of venison, after which they go back to their drinking, and
keep it up till near day. They part in the morning; the king reminds
his host of the promised visit, and rides straight for home. His
knights, who have been blowing horns for him all night in the forest,
are made happy by hearing his bugle, and return to the town. This is
all that is preserved, but again we may be confident that King Edward
made the hermit an abbot.
That the hermit had some habilitation for such promotion appears from a
story told by Giraldus Cambrensis two hundred years before the apparent
date of any of these poems.[73]
King Henry Second, separated from his men in hunting, came to a
Cistercian house at nightfall and was hospitably received, not as
king (for this they knew not), but as a knight of the king’s house
and retinue. After a handsome supper, the abbot asked his help in
some business of the fraternity on which he was to visit the king
the next day, and this was readily promised. The abbot, to improve
his guest’s good disposition, had his health drunk in many a cup of
choice wine, after the English fashion; but instead of the customary
salutation or challenge ‘wes heil!’[74] called ‘pril!’ The king, who
would have answered ‘drinc heil!’ was at a loss how to respond; he was
told that ‘wril!’ was the word. And so with ‘pril’ and ‘wril’ they
pursued their compotation, monks, freres, guests, servants, deep into
the night. The next morning the king rejoined his party, who had been
much alarmed at losing him. Order was given that when the abbot came he
should be immediately admitted, and it was not long before he made his
appearance, with two of his monks. The king received him graciously,
all that he asked was granted; the abbot begged leave to retire, but
the king carried him off to luncheon and seated him by his side. After
a splendid meal, the king, lifting a big cup of gold, called out,
‘Pril, father abbot!’ The abbot, staggering with shame and fear, begged
his grace and forgiveness. The king swore by God’s eyes that as they
had eaten and drunk together in good fellowship the night before, so
should it be to-day; and it should be ‘pril’ and ‘wril’ in his house as
it had been at the convent. The abbot could not but obey, and stammered
out his ‘wril,’ and then king and abbot, knights and monks, and, at the
king’s command, everybody in hall and court, kept up unremittingly a
merry and uproarious interchange of ‘pril’ and ‘wril.’
Of all the four old poems we may repeat what Percy has said of ‘John
the Reeve,’ that “for genuine humor, diverting incidents, and faithful
pictures of rustic manners, they are infinitely superior to all that
have been since written in imitation,” meaning by these the broadside
ballads or histories.[75] A brief account of such of these as have not
been spoken of (all of very low quality) is the utmost that is called
for.
‘The Shepherd and the King.’[76] King Alfred, disguised in ragged
clothes, meets a shepherd, and all but demands a taste of his scrip and
bottle. The shepherd will make him win his dinner, sword and buckler
against sheep-hook. They fight four hours, and the king cries truce;
‘there is no sturdier fellow in the land than thou,’ says the king;
‘nor a lustier roister than thou,’ says the shepherd. The shepherd
thinks his antagonist at best a ruined prodigal, but offers to take
him as his man; Alfred accepts the place, is equipped with sheep-hook,
tar-box, and dog, and accompanies his master home. Dame Gillian doubts
him to be a cut-throat, and rates him roundly for letting her cake burn
as he sits by the fire.[77] Early the next morning Alfred blows his
horn, to the consternation of Gill and her husband, who are still abed.
A hundred men alight at the door; they have long been looking for their
lord. The shepherd expects to be hanged; both he and his wife humbly
beg pardon. Alfred gives his master a thousand wethers and pasture
ground to feed them, and will change the cottage into a stately hall.
‘King James and the Tinker.’[78] King James, while chasing his
deer, drops his nobles, and rides to an ale-house in search of new
pleasures, finds a tinker there, and sets to drinking with him. The
tinker has never seen the king, and wishes he might; James says that
if he will get up behind him he shall see the king. The tinker fears
that he shall not know the king from his lords; the nobles will all
be bare, the king covered. When they come to the greenwood the nobles
gather about the king and stand bare; the tinker whispers, ‘they are
all gallant and gay, which, then, is the king?’ ‘It must be you or
I,’ answers James, for the rest are all uncovered. The tinker falls
on his knees, beseeching mercy; the king makes him a knight with five
hundred a year. (Compare the story of James Fifth of Scotland and John
Howieson, Scott’s Tales of a Grandfather, ch. 27.)
‘The King and the Forester.’[79] King William the Third, forbidden to
hunt by a forester who does not recognize him, tries in vain to bribe
the man, makes himself known, presents the forester with fifty guineas,
and appoints him ranger.
‘The Royal Frolick, or, King William and his Nobles’ Entertainment
at the Farmer’s House on his return from the Irish wars.’[80] King
William, ‘returning to London from Limerick fight,’ stops at a
farm-house ‘for merriment sake,’ and asks country cheer for himself and
his nobles. The farmer and his wife have gone to the next market-town
to see the king pass, and their daughter alone is at home. She serves
bacon and eggs, all that she has; the king throws her ten guineas,
and one of his lords adds two for loyal sentiments which the girl had
expressed. In a Second Part the farmer and his wife, when they return,
learn that the king is at their house, are ordered into his presence,
and are rewarded for the meal which had been furnished.[81]
‘The King and the Cobbler’ (a prose history).[82] King Henry Eighth,
visiting the watches in the city, makes acquaintance with a cobbler,
and is entertained in the cobbler’s cellar; invites the cobbler to
court, directing him to inquire for Harry Tudor, etc.; settles upon him
land in the Strand worth fifty pound a year, which land is to be called
Cobler’s Acre.
* * * * *
Campbell, West Highland Tales, IV, 142, says that he has a Gaelic tale
like ‘The Miller of Mansfield.’
A Belgian story of the Emperor Charles Fifth and a broom-maker has all
the typical points of the older cycle, and, curiously enough, Charles
Fifth instructs the broom-maker to bring a load of his ware to the
palace to sell, as Charles the Great does in the case of Rauf Coilyear:
Maria von Ploennies, Die Sagen Belgiens, p. 251.
The same collection, p. 246 f., has the story of the man who wished to
see the king (an anecdote of Charles Fifth and a peasant). This story
turns up again in Thiele’s ‘Kongen og Bonden,’ Danmarks Folkesager, I,
62 (1843). Christian the Fourth, after a long walk, takes a seat in the
cart of a countryman who is on his way to the castle. The countryman
wishes that he might see the king; the king will be the only man to
keep his hat on; the countryman says, It must be you or I.
After the older pattern is this Russian story, Afanasief, VII, 233, No
32 (given me by Professor Wollner). A tsar who has lost himself while
hunting passes the night with a deserter in a robbers-hut in a wood.
They draw lots who shall stand guard, and the lot falls to the tsar,
to whom the soldier gives his side-arms. Notwithstanding many warnings,
the tsar dozes on his post, and at last the soldier, first punishing
him a little, packs him off to sleep. The robbers come, one by one, and
are shot by the soldier. The next day the deserter shows the tsar his
road, and afterwards pays the tsar a visit at court, discovers who his
comrade was, and is made general.
The Emperor Maximilian Second, while walking in a wood, comes upon a
charcoal-burner; they have a talk, and the emperor is invited to share
the man’s dumplings. Maximilian asks the charcoal-burner to pay him
a visit when he comes to the city, lets him see the princes and the
empress, and gives him a luncheon. There is no _éclaircissement_ at the
time. In the end the charcoal-burner and his family are employed in the
imperial garden.[83]
Robert Dodsley made a very pleasing little sentimental drama out of
‘The King and the Miller of Mansfield’ (1737), and from this play
(perhaps through a translation, ‘Le Roi et le Meunier,’ made before
1756), Sédaine took the substance of ‘Le Roi et le Fermier,’ 1762, and
Collé the idea of ‘La Partie de Chasse de Henri IV, 1774.’ Goldoni’s
musical drama, ‘Il re alla caccia’ (King Henry IV of England), produced
a year after Sédaine’s play, seems to have been suggested by it: vol.
37 of the edition of Venice, 1794.
* * * * *
Percy’s ballad is translated by Bodmer, I, 172.
* * * * *
1
In summer time, when leaves grew green,
and birds were singing on every tree,
King Edward would a hunting ride,
some pastime for to see.
2
Our king he would a hunting ride,
by eight a clock of the day,
And well was he ware of a bold tanner,
came riding on the way.
3
A good russet coat the tanner had on,
fast buttoned under his chin,
And under him a good cow-hide,
and a mare of four shilling.
4
‘Now stand you here, my good lords all,
under this trusty tree,
And I will wend to yonder fellow,
to know from whence came he.
5
‘God speed, God speed,’ then said our king;
‘thou art welcome, good fellow,’ quoth he;
‘Which is the way to Drayton Basset
I pray thee shew to me.’
6
‘The ready way to Drayton Basset,
from this place as thou dost stand,
The next pair of gallows thou comst to
thou must turn up [on] thy right hand.’
7
‘That is not the way,’ then said our king,
‘the ready way I pray thee shew me;’
‘Whether thou be thief or true man,’ quoth the tanner,
‘I’m weary of thy company.
8
‘Away, with a vengeance,’ quoth the tanner,
‘I hold thee out of thy wit,
For all this day have I ridden and gone,
And I am fasting yet.’
9
‘Go with me to Drayton Basset,’ said our king,
‘no daintyes we will lack;
We’l have meat and drink of the best,
And I will pay the shot.’
10
‘Godamercy for nothing,’ said the tanner,
‘thou shalt pay for no dinner of mine;
I have more groats and nobles in my purse
then thou hast pence in thine.’
11
‘God save your goods,’ then said the king,
‘and send them well to thee!’
‘Be thou thief or true man,’ quoth the tanner,
‘I am weary of thy company.
12
‘Away, with a vengeance,’ quoth the tanner,
‘of thee I stand in fear;
The aparrell thou wearst on thy back
May seem a good lord to wear.’
13
‘I never stole them,’ said our king,
‘I swear to thee by the rood;’
‘Thou art some ruffian of the country,
thou rid’st in the midst of thy good.’
14
‘What news dost thou hear?’ then said our king,
‘I pray what news do you hear?’
‘I hear no news,’ answered the tanner,
‘but that cow-hides be dear.’
15
‘Cow-hides? cow-hides?’ then said our king,
‘I marvell what they be;’
‘Why, art thou a fool?’ quoth the tanner,
‘look, I have one under me.’
16
‘Yet one thing now I would thee pray,
so that thou wouldst not be strange;
If thy mare be better then my steed,
I pray thee let us change.’
17
‘But if you needs with me will change,
As change full well may ye,
By the faith of my body,’ quoth the tanner,
‘I look to have boot of thee.’
18
‘What boot wilt thou ask?’ then said our king,
‘what boot dost thou ask on this ground?’
‘No pence nor half-pence,’ said the tanner,
‘but a noble in gold so round.’
19
‘Here’s twenty good groats,’ then said the king,
‘so well paid see you be;’
‘I love thee better then I did before,
I thought thou hadst nere a peny.
20
‘But if so be we needs must change,
as change thou must abide,
Though thou hast gotten Brock my mare,
thou shalt not have my cow-hide.’
21
The tanner took the good cow-hide,
that of the cow was hilt,
And threw it upon the king’s saddle,
That was so fairly guilt.
22
‘Now help me, help me,’ quoth the tanner,
‘Full quickly that I were gone,
For when I come home to Gillian my wife
she’l say I’m a gentleman.’
23
The king took the tanner by the leg,
he girded a fart so round;
‘You’r very homely,’ said the king,
‘were I aware, I’d laid you o th’ ground.’
24
But when the tanner was in the king’s saddle
astonëd then he was;
He knew not the stirrops that he did wear,
whether they were gold or brass.
25
But when the steed saw the black cow-tale wag,
for and the black cow-horn,
The steed began to run away,
as the divel the tanner had born.
26
Untill he came unto a nook,
a little beside an ash;
The steed gave the tanner such a fall
his neck was almost brast.
27
‘Take thy horse again, with a vengeance,’ he said,
‘with me he shall not abide;’
‘It is no marvell,’ said the king, and laught,
‘he knew not your cow-hide.
28
‘But if that we needs now must change,
as change that well we mought,
I’le swear to you plain, if you have your mare,
I look to have some boot.’
29
‘What boot will you ask?’ quoth the tanner,
‘What boot will you ask on this ground?’
‘No pence nor half-pence,’ said our king,
‘but a noble in gold so round.’
30
‘Here’s twenty [good] groats,’ said the tanner,
‘and twenty more I have of thine;
I have ten groats more in my purse,
we’l drink five of them at the wine.’
31
The king set a bugle-horne to his mouth,
that blew both loud and shrill,
And five hundred lords and knights
came riding over a hill.
32
‘Away, with a vengeance,’ quoth the tanner,
‘with thee I’le no longer abide;
Thou art a strong thief, yonder be thy fellows,
they will steal away my cow-hide.’
33
‘No, I protest,’ then said our king,
‘for so it may not be;
They be the lords of Drayton Basset,
come out of the North Country.’
34
But when they came before the king
full low they fell on their knee;
The tanner had rather then a thousand pound
he had been out of his company.
35
‘A coller! a coller!’ then said the king,
‘a coller!’ then did he cry;
Then would he have given a thousand pound
he had not been so nigh.
36
‘A coller? a coller?’ then quoth the tanner,
‘it is a thing which will breed sorrow;
For after a coller commeth a halter,
and I shall be hanged tomorrow.’
37
‘No, do not fear,’ the king did say;
‘for pastime thou hast shown me,
No coller nor halter thou shalt have,
but I will give thee a fee.
38
‘For Plompton Park I will give thee,
with tenements three beside,
Which is worth three hundred pound a year,
to maintain thy good cow-hide.’
39
‘Godamercy, Godamercy,’ quoth the tanner;
‘for this good deed thou hast done,
If ever thou comest to merry Tamworth,
thou shalt have clouting-leather for thy shone.’
* * * * *
=a, b.= A pleasant new ballad of King Edward the Fourth and a Tanner
of Tamworth, as he rode a hunting with his nobles towards (=b=, to)
Drayton Bass[et]. To an excellent new tune.
=a.= Printed for F. Coles, T. Vere, and W. Gilbertson.
=b.= London, printed for F. Coles, T. Vere, and J. Wright.
=c.= A pleasant new ballad betweene King Edward the Fourth and a
Tanner of Tamworth, as hee rode upon a time with his nobles on hunting
towards Drayton Basset.... London, Printed by A. M. (_probably_
Alexander Milbourne, 1670-97).
=a.=
1^1. grow.
1^2. birds sitting.
7^3, 36^1. qd.
8^2, 37^4. the.
13^4. of the.
18^3. no half pence said our king.
20^4. shalt noo.
23^2. guirded.
29^2. in this.
29^4. gould.
30^3. groat.
35^1. A choller, a coller.
35^2, 36^{1, 3}, 37^3. choller.
38^2. besides.
39^4. clout-leather.
=b.=
1^1. grow.
1^2. birds were singing.
2^1. he _wanting_.
3^2. to his.
6^4. up on.
7^3. be a: or a.
11^1. said our.
13^4. the wood.
14^2. pray thee: dost thou.
16^2. would.
17^1. if thou.
17^4. have some boot.
18^1. boot will you have.
18^3. nor half pence said the tanner.
19^1. said our.
19^2. see thou.
20^4. not have.
21^2. off.
22^1. Now help me up, quoth.
22^3. For _wanting_.
23^2. guirded.
23^4. I had.
24^1. But _wanting_.
24^2. astonished.
25^2. and before the.
26^1. into.
26^2. an oak.
26^4. almost broke.
28^1. now _wanting_.
28^2. change well now we might.
29^2. on this.
30^1. twenty good.
30^3. groats.
34^3. he gave a.
35^{1, 2}, 36^{1, 3}, 37^3. collar.
36^1. then _wanting_.
36^2. which _wanting_.
38^2. beside.
39^4. clout-leather.
=c.=
1^1. grew.
1^2. birds sitting.
2^4. come.
4^1. good my lords.
5^4. pray you shew it to.
6^1. ready _wanting_.
6^2. this way.
6^4. upon the left.
7^2. readiest.
8^3. all _wanting_.
9^3. For wee’l.
9^4. for the.
10^1. quoth the.
11^1. our king.
11^3. said the.
13^2. to you.
13^4. of thy.
14^1. doe you.
16^1. thing of thee I.
16^2. would.
16^4. pray you.
17^1. thou needs: wilt.
18^1. the king.
18^2. wilt thou.
18^3. nor half pence said the tanner.
19^2. see that you.
20^1. we must needs.
20^2. we must.
20^4. not have.
21^1. he tooke.
22^1. helpe, helpe me up.
23^2. girded.
23^3. then said.
23^4. I’de a laid.
24^2. that he.
28^1. wee must needs now change here.
28^2. well that we mote.
28^4. I doe looke.
29^1. wilt thou.
29^2. wilt thou: on this.
29^3. said the.
29^4. but in gold twenty pound.
30^1. twenty groats.
30^2. I had.
30^3. groats.
31^3. Then five.
34^3. a hundred.
34^4. of their.
35^{1,2}, 36^{1,3}, 37^3. coller.
35^2. that he did cry.
36^1. then _wanting_.
36^2. that is a thing will.
38^1. will thee give.
38^2. with the: beside.
38^3. five hundred.
_The Pepys copy was printed for_ J. W[right], J. C[larke], W.
T[hackeray], and T. P[assinger]. _Euing, No 273, for_ F. Coles, T.
Vere, J. Wright, and J. Clarke; _No 274, for_ F. Coles, T. Vere, and
W. Gilbertson (_as_ =a=). _Heber’s copy for_ F. Coles (1646-74).
APPENDIX
I
THE KING AND THE BARKER
Library of the University of Cambridge, MS. Ee. iv, 35. 1, fol. 19 b.
Written mostly in couplets of long lines, sometimes in stanzas of four
short lines, with omissions, transpositions, and other faults.
It will be observed that neither in this tale nor in the “history”
which follows does the tanner become aware that he has been dealing
with “our kyng.” In both he calls the king “good fellow” to the very
last. What happens at the meeting with Lord Basset, 30, is not made
quite intelligible. It must be that Lord Basset and his men fall on
their knees, but the conviction that “this” is the king seems to make
no great difference in the tanner’s bearing.
1
Well yow here a god borde
to make yow all low,
How het ffell apon a tyme,
or en_e_y man het know?
2
The kyng rod a hontyng,
as _þat_ tyme was;
Ffor to hont a der_e_
Y trow hes hope was.
3
As he rode, he houer-
toke yn the wey
A tannar off Dantre,
yn a queynte ar_a_ye.
4
Blake kow-heydes sat he apon,
the hornys heyng be seyde;
The kyng low and had god game
to se the tannar reyde.
5
Howr_e_ kyng bad hes men abeyde,
_and_ he welde sper of hem the wey;
‘Yffe Y may her_e_ eney now tythyng,
Y schall het to yow saye.’
6
Howr_e_ kyng prekyd _and_ seyde,
Ser, God the saffe!
The tannar seyde,
Well mot yow ffar_e_!
7
‘God ffellow,’ seyde yowr_e_ kyng,
‘offe on thyng Y þe pray;
To Drayton Baset well Y reyde,
wych_e_ ys the wey?’
8
‘That can Y tell the
ffro hens þ_a_t Y stonde;
When þow comest to the galow-tre,
torne vpon þe lyft honde.’
9
‘Gram_e_rcy, ffellow,’ seyde owr_e_ kyng,
‘w_i_t_h_owtyn eney wone,
I schall prey the lord Baset
thanke the sone.
10
‘God ffellow,’ seyde owr_e_ kyng,
‘reyde þow w_i_t_h_ me
Tell Y com to Drayton Baset,
Now Y het se.’
11
‘Nay, be mey ffeyt,’
seyde the barker thoo,
‘Thow may sey Y wer_e_ a ffole,
_and_ Y dyd so.
12
‘I hast yn mey wey as well
as þow hast yn theyne;
Reyde fforthe _and_ seke they wey;
þi hors ys bett_er_ nar meyne.’
13
The tanner seyde,
What maner man ar ye?
‘A preker abowt,’ seyd _þ_e kyng,
‘yn maney a contre.’
14
Than spake the tanner,
ffoll scrodel_e_y ayen;
Y had a brother vowsed the same,
tell he cowde never the[n].
15
Than _yo_wr_e_ kyng
smotley gan smeyle:
‘Y prey the, ffelow,
reyde w_i_t_h_ me a meyle.’
16
‘What, devell!’ q_uo_d the tann_er_,
‘art þ_o_u owt off they wet?
Y most hom to mey deyner_e_,
ffor I am ffastyng yet.’
17
‘Good ffelow,’ seyde owr_e_ kyng,
‘Car_e_ _þ_e not ffor no mete;
_Þo_u schalt haffe mete ynow to neyȝt,
_and_ yeffe _þo_u welt ette.’
18
The tanner toke gret skorne of hem,
_and_ sware be Creystys pyne,
Y trow Y hafe mor_e_ money yn mey pors
nar thow hast yn theyne.
19
‘Wenest thow Y well be owt on neyȝt?
nay, _and_ God beffore;
Was Y neuer owt a-neyt
sen Y was bor_e_.’
20
The tanner lokyd a bake tho;
the heydes began to ffall;
He was war of the keyng_es_ men,
where they cam reydyng all.
21
Thes ys a theffe, thowt the tann_er_,
Y prey to God geffe hem car_e_;
He well haffe mey hors, mey heydes,
_and_ all mey chaffar_e_.
22
‘Ffor ffeleyschepe,’ seyde the tannar,
‘y[e]t well Y reyde w_i_t_h_ the;
Y wot, war_e_ Y mete w_i_t_h_ the afft_er_ward,
thow mast do as meche ffor me.’
23
‘God amar[sey],’ seyde owr_e_ kyng,
‘w_i_t_h_owt eney wone,
Y schall prey þe lord Baset
to thanke the sone.’
24
Owr_e_ kyng seyde, What now tydyng
herest [_þo_u] as _þo_u [dost] ryd?
I wolde ffayne wot,
ffor _þo_w reydest weyde.
25
‘Y know [no] now teytheyng,’ þe tanner seyde,
herke _and_ _þo_u schalt her_e_;
Off al the chaffar that Y know,
kow-heydys beyt der_e_.’
26
_O_wr_e_ keyng seyde, On theyng
on mey loffe Y the prey;
What herest sey be the lord Baset
yn thes contrey?
27
‘I know hem not,’ seyde the tann_er_,
‘w_i_t_h_ hem Y hafe lytyll to don;
Wolde he neuer bey of me
clot-lether to clowt w_i_t_h_ schon.’
28
How_re_ kyng seyde, Y loffe the well,
of on thyng I þe praye;
Thow hast harde hes s_er_vantes speke,
what wolde þey saye?
29
‘Ye, ffor God,’ seyde the tann_er_,
‘þ_a_t tell Y can;
Thay sey thay leke hem well,
for he ys a god man.’
30
Thos they reyd together talkyng,
for soyt Y yow tell,
Tell he met þe lord Baset;
on kneys downe þey ffell.
31
Alas, the tann_er_ thowt,
the kyng Y leue thes be;
Y schall be honged, well Y wot,
at men may me se.
32
He had no meynde of his hode nor cape
ner_e_ a dell [more],
Al ffor drede off hes leyffe
he wende to haffe lo_re_.
33
The tann_er_ wolde a stole awey,
whyle he began to speke;
How_re_ kyng had yever an ey on hem,
that he meyt not skape.
34
‘God ffelow’, seyd owr_e_ kyng,
‘w_i_t_h_ me thow most abeyde,
Ffor þow _and_ Y
most an hontyng reyde.’
35
Whan they com to Kyng Chas,
meche game þey saye;
Howr_e_ kyng seyde, Ffelow, what schall Y do,
my hors ys so hey?
36
‘God ffelow,’ [seyde owr_e_ kyng,]
lend þow me theyne,
. . . . . . .
_and_ hafe here meyne.’
37
Tho the tannar leyt do[w]ne
_and_ cast a downe hes heydys;
Howr_e_ kyng was yn hes sadell,
no leyngg_er_ he beydes.
38
Alas, þeyn the tanner thowt,
w_i_t_h_ mey hors he well reyde awey;
Y well aft_er_,
to get hem _and_ Y may.
39
He welde not leffe his heydys beheynde
ffor no theyng. ..;
He cast them yn the kyng_es_ schadyll;
_Þat_ was a neys seyte.
40
Þo he sat aboffe them,
as Y [y]ouw saye,
He prekyd ffast aft_er_,
_and_ ffond þe redey wey.
41
The hors lokyd abowt hem,
_and_ sey on eu_er_y seyde
. . . . . .
the kow-hornes blake _and_ wheyte.
42
The hors went he had bor_e_
þe deuell on hes bake;
The hors prekyd as he was wode,
het mestoret to spor hem not.
43
The barker cleynt on hem ffast,
he was sore afferde ffor to ffall;
. . . . . . .
. . . . . . .
44
The kyng lowhe [and had gode game,]
_and_ was glad to ffollow þe chas;
Lest þe tann_er_ wolde ber_e_ hem downe
yette he was agast.
45
The hors sped hem sweythyli,
he sped hem wonderley ffast;
Ayen a bow of an oke
the tann_er_es hed he brast.
46
W_i_t_h_ a stombellyng as he rode,
þe tann_er_ downe he cast;
The kyng lowhe _and_ had god game,
_and_ seyde, S_er_, _þo_u rydyst to ffast.
47
The kyng lowhe and had god game,
_and_ swar_e_ be Sent John,
Seche another horsman
say Y neuer_e_ none.
48
Owr_e_ kyng lowhe _and_ had god bord,
_and_ swar_e_ be Sent Jame,
Y most nedys lawhe,
_and_ thow wer_e_ mey dame.
49
‘Y bescro the same son,’
seyde the barker tho,
‘_Þa_t seche a bord welde haffe
to se hes dame so wo.’
50
When her hontyng was ydo,
þey changyd hors agen;
Þo the barker had hes howyn,
þeyrof he was ffayne.
51
‘God a marsey,’ seyd owr_e_ kyng,
‘of þey s_er_ueyse to daye;
Yeffe thow hafe awt to do w_i_t_h_ me,
or owt to saye,
52
They ffrende schall Y yeffor be,
Be God [þat] ys bet on;
. . . . . . .
. . . . . .
53
‘God a marsey,’ seyde þe barker þo,
‘thow semyst a ffelow god;
Yeffe Y met the yn Dantre,
þow schalt dreynke, be [þe] rode.’
54
‘Be mey ffeyt,’ seyde owr_e_ kyng,
‘or els wer_e_ Y to blame,
Yeffe Y met the yn Lecheffelde,
þow schalt hafe the same.’
55
Þus they rode talkyng togeder
to Drayton Hall;
Tho the barker toke hes leffe
of the lordes all.
56
Owr_e_ kyng comand þe barker
yn that tyde
A c. s’. yn hes pors,
to mend hes kow-heydys.
57
There owr_e_ kyng and the barker
p_ar_tyd ffeyr_e_ atwyn;
God _þa_t set yn heffen so hey
breyng os owt of sen!
Explycy_t_ þe Kyng _and_ the Barker.
* * * * *
1^2. lawhe all. _For_ low, _cf._ 4^3; lowhe, 44^1, 46^3, 47^1, 48^1.
6^4. ffare. _Read, perhaps, with rhyme_, haffe.
7^1, 15^1. yowre = owre: _cf._ yever, yeffor, 33^3, 52^1.
9^2. eney woyt: _see_ 23^2.
9^3. they.
11^1. be meyt; _cf._ 54^1.
12^1. I haffe hast?
14^1, 25^1, 31^1, 33^1, 37^1, 38^1, 46^2. thanner, thannar (_the_ th
_caught from the preceding_ the).
14^3. yow (_struck through_) vowsed (_that is_, used).
19^2. be ffore.
22^3. y not: methe.
25^1. no _has been inserted because it occurs in the_
_other versions, but_ now (new), _simply, makes some sense_.
26^2. as mey. _Perhaps_, as thow me loffe.
27^4. schoys.
28^2. of 1.
34^{1,2}. God ffelow w_i_t_h_ me thow most abeyde seyd owr_e_ kyng.
38^2. he well reyde awey w_i_t_h_ mey hors.
39^1. le leffe.
_39^2. Words seem to have dropped out at the end._
42. _The rhyme might be restored thus_:
The hors went the deuell
on hes bake he had bor_e_;
The hors prekyd as he was wode,
het mestoret not hem to spor.
44^{3,4}. yeffe he was agast lest þe tann_er_ wolde ber_e_ hem downe.
45^3. a noke.
45^4. thann_er_es: barst.
48^2. Jane.
48^3. nedyst.
50^4. of ffayne.
55^1. to gederff.
II
KING EDWARD THE FOURTH AND A TANNER OF TAMWORTH
A merrie, pleasant and delectable Historie, betweene King Edward the
Fourth and a Tanner of Tamworth, etc.
=a.= London, John Danter, 1596, Bodleian Library, 4°, C. 39. Art.
Seld. =b.= London, W. White, 1613, Corpus Christi College Library, X.
G. 2. 11. 4th tract.
1
In summer-time, when leaues grou greene,
and blossoms bud on euery tree,
King Edward would a hunting ride,
some pastime for to see.
2
With hawke and hound he made him bound,
with horne and eke with bow;
Toward Drayton Basset he tooke his way,
whosoeuer doth it know.
3
But as our king on his way rode forth,
by eight a clocke of the day,
He was ware of a tanner of mery Tamworth,
was in a quaint aray.
4
A good russet coat the tanner had on,
he thought it mickle pride;
He rode on a mare cost foure shillings,
and vnder him a good cow-hide.
5
A paire of rough mittens the tanner did weare,
his hood was buckled vnder his chin;
‘Yonder comes a good fellow,’ said our king,
‘that cares not whether he lose or win.’
6
The tanner came singing on his mare,
with one so merry a note;
He sung out of tune, he was past care,
he had no neede to grease his throte.
7
‘Stand you here still, my lordes now,
vnder the greene wood spray,
And I will ride to yonder fellow,
to wit what he will say.
8
‘God speede, good fellow,’ said our king;
‘thou art welcom, sir,’ quoth he;
‘Which is the way to Drayton Basset,
I pray thee tell to me.’
9
‘Marry, that I will,’ quoth the tanner,
‘right as here I stand;
The next paire of gallows that thou comes to,
turne in vpon thy right hand.’
10
‘It is an vnready way,’ said our king,
‘I tell you, so mote I thee;
I pray you show me the readiest way
the towne that I may see.’
11
‘Go play the great jauel!’ quoth the tanner,
‘I hold thee out of thy wit;
All day haue I ridden on Brocke, my mare,
and I am fasting yet.’
12
‘Why, we will to the towne,’ said our king,
‘and of dainties [we will none lacke];
We will eate and drinke and fare of the best,
and I will pay for the shot.’
13
‘God haue mercy for nothing,’ quoth the tanner,
‘thou paiest for none of mine,
For I haue as many nobles in my purse
as thou hast pence in thine.’
14
‘God giue you ioy of yours,’ said our king,
‘and send thee well to priefe;’
The tanner would faine haue beene away,
for he wend he had beene a thiefe.
15
‘What art thou, good fellow?’ quoth the tanner,
‘of thee I am in great feare,
For the clothes that thou wearest on thy back
are not for a lord to weare.’
16
‘I neuer stole them,’ said our king,
‘I tell you, sir, by the rood;’
‘No, thou plaiest as many an vnthrift doth,
thou standst in the mids of thy good.’
17
‘What tidings heare you,’ said our king,
‘as you ride farre and neare?’
‘I heare no tidings,’ quoth the tanner,
‘but that cow-hides are deare.’
18
‘Cow-hides? cow-hides?’ then said our king,
‘I know not what they be;’
‘Lo, here thou maist see one;’ quoth the tanner,
‘here lyeth one vnder me.
19
‘Knowst thou not a cow-hide,’ quoth the tanner,
‘and hast gone so long to schoole?
If euer thou come to dwell in the country,
thou wilt be made a foole.’
20
‘What craftsman are you?’ said our king,
‘I pray you tell me now;’
‘I am a barker,’ quoth the tanner,
[‘What craftsman art thou?’]
21
‘I am a courtier,’ said our king,
‘forth of seruice I am worne;
Full faine I would be your prentise,’ he said,
‘your cunning for to learne.’
22
‘Marrie, God forbid,’ quoth the tanner,
‘that such a prentise I should haue;
He wold spend me more than he would get
by fortie shillings a yere.’
23
‘One thing would I wit,’ said our king,
‘if you will not seeme strange;
Thou my horse be better than your mare,
with you faine would I change.’
24
‘Nay, there thou liest yet,’ quoth the tanner,
‘by Christ, thou shalt abide;
For, if thou haue Brocke, my mare,
thou gets not my good cow-hide.’
25
‘I will not haue it,’ said our king,
‘I tell thee, so mote I thee;
I will not carrie it away
though you would giue it me.’
26
‘Why, then we must change,’ quoth the tanner,
‘as needs me thinke thou woot;
But if you haue Brocke, my mare,
I will looke to haue some boote.’
27
‘That were against reason,’ said our king,
‘I tell you, so mote I thee;
My horse is much better than your mare,
and that you may well see.’
28
‘Avise a vous now,’ sayd the tanner,
‘whether thou wilt or no,
For my mare is gentle and will not kicke,
but softlie she will go.
29
‘And thy horse is vnhappie and vnwieldie,
[and will neuer goe in rest,]
But alwaies skipping here and there,
and therefore my mare is best.’
30
‘What boot will you haue?’ then said our king,
‘tell me now in this tide;’
‘Neuer a single pennie,’ quoth the tanner,
‘but a noble of gold so red.’
31
‘Why, there is your noble,’ said our king,
‘well paid looke that you be;’
‘I would haue sworne on a book,’ quoth the tanner,
‘thou hadst not one pennie.’
32
Now hath the king the tanner’s mare,
she is nothing faire, fat nor round,
And the tanner hath the king’s good steede,
the saddle is worth fortie pound.
33
The tanner tooke vp the good cow-hide,
off the ground where he stood,
He threw it vpon the king’s steede,
in the saddle that was so good.
34
The steed stared vpon the hornes,
vnder the greene wood spraie;
He had weende the diuell of hell had bin come,
to carrie him thence away.
35
The tanner looked as fast on the stirrops,
astonied sore he was;
He meruailed greatly in his minde
whether they were gold or bras.
36
‘Help me [vp], good fellow,’ quoth the tanner,
‘lightly that I were gone;
My wife and my neighbours more and lesse
will say I am a gentleman.’
37
The king tooke the tanner by the leg,
and lift him vp a loft;
The tanner girded out a good round fart,
his belly it was so soft.
38
‘You make great waste,’ said our king,
‘your curtesie is but small;’
‘Thy horse is so high,’ quoth the tanner againe,
‘I feare me of a fall.’
39
But when the tanner was in the saddle
the steede began to blow and blast,
And against the roote of an old tree
the tanner downe he cast.
40
‘Abide, good fellow,’ said our king,
‘ye make ouer great hast;’
‘Thou shalt haue thy horse, with a vengeance, againe,
for my necke is well nigh brast.’
41
‘Why then we must change,’ said our king,
‘as me thinke needs thou woot;
But if you haue your mare againe
I will looke to haue some boote.’
42
‘What boote wilt thou haue?’ quoth the tanner,
‘tell me in this stound;
‘Neuer a groat nor pennie,’ said our king,
‘but of thy gold twentie pound.’
43
‘Nay, here is thy noble,’ quoth the tanner again,
‘and Christ’s blessing and mine;
‘Yea, here is twentie good groats more,
goe drinke them at the wine.’
44
‘So mote I thee,’ then said our king,
‘it shall not slacke my woe;
For when a noble is in small monie
full soone it is agoe.’
45
‘Dost thou loue to keepe gold?’ quoth the tanner,
the king answered and said, Ye;
‘Then I would thou were my neere kinsman,
for I thinke thou wilt thriue and thee.’
46
Now hath the tanner Brocke, his mare,
and vnder him his good cowhide,
Our noble king his horse againe,
which was a well faire steede.
47
‘Now farewell, good fellow,’ quoth the tanner,
‘I will bide no longer with thee;’
‘Tarrie yet a little while,’ said our king,
‘and some pastime we will see.’
48
Our king set a bugle to his mouth,
and blew a blast lowd and small;
Seuen score lords, knights, squires and yeome_n_
came riding ouer a dale.
49
‘Now out alas!’ quoth the tanner,
‘that euer I saw this tide;
Thou art a strong thiefe, yonder be thy fellowes,
will haue my mare and my cowhide.’
50
‘They are no theeues,’ then said our king,
‘I tell you, so mote I thee;
It is my lord of Drayton Basset
is come a hunting to me.’
51
But when before the king they came,
they fell downe on their knees;
The tanner had leuer than a thousand pound
he had beene from their companies.
52
‘A coller! a coller!’ our king gan call,
quoth the tanner, It will breede sorrow;
For after a coller commeth a halter,
I trow I shall be hangd tomorrow.
53
‘Be not afraid, tanner,’ said our king,
‘I tell thee, so mote I thee;
Lo, here I make thee the best esquier
in all the North Countrie.
54
‘And Plumton Parke I will giue thee,
and Iacie in [t]his tide--
It is worth three hundred pounds by yeare--
to prepare thy good cowhide.’
55
‘God a mercie, good fellow,’ quoth the tanner,
‘for this that thou hast done;
The next time thou comest to Tamworth town,
thou shalt haue clouting-leather for thy shon.’
56
Now God aboue speed well the plough,
and keepe vs from care and woe,
Vntill euerie tanner in [t]his countrie
[doe ride a hunting so.]
A merrie, pleasant and delectable Historie, betvveene King Edvvard
the fourth and a Tanner of Tamworth, as he rode vpon a time with his
nobles a (=b=, on) hunting toward Drayton Basset:
Verie pleasant and merrie to read.
=a.= Printed at London by John Danter, 1596. (_8 pages._)
=b.= At London, printed by W. White, 1613. (_8 pages._)
=b= _has for a heading_ The King and the Tanner.
=a.=
3^4. quaint of aray.
11^1. play thee.
12^2. _Defect supplied from_ =b=.
20^4. _Cut off; supplied from_ =b=.
26^2. thou wilt. _Cf._ 41^2.
29^2, 56^4. _Cut off; supplied from_ =b=.
43^1. quath.
=b.=
3^1. as the.
3^2. eight of the.
3^4. quaint of ray.
6^1. tanner he.
7^1. here _wanting_.
8^4. tell it me.
9^4. vp vpon.
10^2. so might.
11^1. play thee.
12^2. we will none lacke.
13^1. Godamercy.
15^2. I stand.
16^4. middes.
18^4. lies.
19^3. thou happen.
20^4. what craft-man art thou.
22^3. than I should.
23^1. I wish.
23^2. thou wilt.
23^3. then thy.
23^4. would I faine.
25^2, 27^2, 44^1, 50^2. mought.
25^4. thou wouldst.
26^2. thinkes thou wilt.
26^3. if thou.
27^3. than thy.
29^2. and will neuer goe in rest.
31^1. Why heere: said the.
31^3. would asworne.
33^3. king’s faire steed.
35^2. sore that he.
36^1. me up.
38^3. so hie.
40^4. welnie.
41^2. mee thinkes: thou wilt.
45^2. yea.
45^3. wert.
46^2. and _wanting_.
47^2. will no longer abide.
48^2. and he.
50^1. then _wanting_.
51^1. when they all before the king came.
51^3. had rather.
53^2. might.
53^4. that is in the.
54^2. Jackie in this.
56^3. Till: in this.
56^4. doe ride a hunting so.
III
KING HENRY II AND THE MILLER OF MANSFIELD
=a.= ‘Kinge and Miller,’ Percy MS., p. 235; Hales and Furnivall,
II, 147. =b.= The Pleasant History of the Miller of Mansfield, in
Sherwood, and Henry the Second, King of England, etc., Wood, 254, iv.
Small octavo of twelve pages. Printed for F. Coles, J. Wright, T.
Vere, and William Gilbertson, 1655.
1
Henery, our royall k_ing_, wold goe a huntinge,
To the greene fforrest soe pleasant and fayre;
To haue the harts chased, the daintye does tripping,
To merry Sherwood his nobles repayre;
Hauke and hound was vnbound, all things p_re_pared
For the same to the game w_i_th good regard.
2
All a longe sum_m_ers day rode the k_ing_ pleasantlye,
W_i_th all his princes and nobles eche one,
Chasing the hart and hind and the bucke gallantlye,
Till the darke euening inforced them turne home.
Then at last, ryding fast, he had lost quite
All his lords in the wood in the darke night.
3
Wandering thus wearilye, all alone vp and downe,
W_i_th a rude miller he mett att the last;
Asking the ready way vnto fayre Nottingham,
‘S_i_r,’ q_uo_th the miller, ‘I meane not to iest,
Yett I thinke what I thinke; truth for to say,
You doe not lightlye goe out of yo_u_r way.’
4
‘Why, what dost thou thinke of me?’ q_uo_th our k_ing_ merrily,
‘Passing thy iudgment vpon me soe breefe.’
‘Good faith,’ q_uo_th the miller, ‘I meane not to flatter thee,
I gesse thee to bee some gentleman-theefe;
Stand thee backe in the darke! light not adowne,
Lest I p_re_sentlye cracke thy knaues cro[wn]e!’
5
‘Thou doest abuse me much,’ q_uo_th our k_ing_, ‘saying thus;
I am a gentleman, and lodging doe lacke.’
‘Thou hast not,’ q_uo_th the miller, ‘a groat in thy pursse;
All thine inheritance hanges on thy backe.’
‘I haue gold to discharge for _tha_t I call;
If itt be forty pence, I will pay all.’
6
‘If thou beest a true man,’ then said the miller,
‘I sweare by my tole-dish I’le lodge thee all night.’
‘Heere’s my hand,’ q_uo_th our k_ing_, ‘_tha_t was I eu_er_.’
‘Nay, soft,’ q_uo_th the miller, ‘thou mayst be a sprite;
Better I’le know thee ere hands I will shake;
W_i_th none but honest men hands will I take.’
7
Thus they went all alonge unto the millers house,
Where they were seething of puddings and souce.
The miller first entered in, then after went the k_ing_;
Neu_er_ came he in soe smoakye a house.
‘Now,’ q_uo_th hee, ‘let me see heere what you are;’
Q_uo_th our k_ing_, Looke you[r] fill, and doe not spare.
8
‘I like well thy countenance; thou hast an honest fac[e];
With my sonne Richard this night thou shalt lye.’
Q_uo_th his wiffe, By my troth, it is a good hansome yout[h];
Yet it is best, husband, to deale warrilye.
Art thou not a runaway? I pray thee, youth, tell;
Show vs thy pasport and all shalbe well.
9
Then our k_ing_ p_re_sentlye, making lowe curtesie,
W_i_th his hatt in his hand, this he did say:
I haue noe pasport, nor neu_er_ was seruitor,
But a poore courtyer, rode out of the way;
And for yo_u_r kindnesse now offered to me,
I will requite it in eu_er_ye degree.
10
Then to the miller his wiffe whisp_er_ed secretlye,
Saing, It seemeth the youth is of good kin,
Both by his apparell and by his manners;
To turne him out, certainely it were a great sin.
‘Yea,’ q_uo_th hee, ‘you may see hee hath some grace,
When as he speaks to his betters in place.’
11
‘Well,’ q_uo_th the millers wiffe, ‘younge man, welcome heer!
And tho I say’t, well lodged shalt thou be;
Fresh straw I will lay vpon yo_u_r bed soe braue,
Good browne hempen sheetes likwise,’ q_uo_th shee.
‘I,’ q_uo_th the goodman, ‘and when _tha_t is done,
Thou shalt lye [with] noe worse then our owne sonne.’
12
‘Nay first,’ q_uo_th Richard, ‘good fellowe, tell me true,
Hast thou noe creep_er_s in thy gay hose?
Art thou not troubled w_i_th the scabbado?’
‘Pray you,’ q_uo_th the k_ing_, ‘what things are those?’
‘Art thou not lowsye nor scabbed?’ q_uo_th hee;
‘If thou beest, surely thou lyest not with me.’
13
This caused our k_ing_ suddenly to laugh most hartilye
Till the teares trickled downe from his eyes.
Then to there supp_er_ were thé sett orderlye,
To hott bag-puddings and good apple-pyes;
Nappy ale, good and stale, in a browne bowle,
Wh_ic_h did about the bord merrilye troule.
14
’Heere,’ q_uo_th the miller, ’good fellowe, I’le drinke to thee,
And to all the courtnolls _tha_t curteous bee.’
’I pledge thee,’ q_uo_th our k_ing_, ’and thanke thee heartilye
For my good welcome in eu_er_ye degree;
And heere in like manner I drinke to thy sonne.’
’Doe then,’ saies Rich_ard_, ’and quicke let it come.’
15
’Wiffe,’ q_uo_th the miller, ’feitch me forth lightfoote,
_Tha_t wee of his sweetnesse a litle may tast.’
A faire venson pastye shee feiched forth p_re_sentlye.
’Eate,’ q_uo_th the miller, ’but first, make noe wast;
Heer is dainty lightfoote.’ ’Infaith,’ q_uo_th our k_ing_,
’I neu_er_ before eate of soe dayntye a thinge.’
16
’Iwis,’ said Richard, ’noe dayntye att all it is,
For wee doe eate of it eu_er_ye day.’
’In what place,’ sayd our k_ing_, ’may be bought lik to th[is?]’
’Wee neu_er_ pay peennye for it, by my fay;
From merry Sherwood wee feitch it home heere;
Now and then we make bold w_i_th our kings deere.’
17
’Then I thinke,’ q_uo_th our king, ’_tha_t it is venison.’
’Eche foole,’ q_uo_th Richard, ’full well may see _tha_t;
Neu_er_ are we w_i_thout two or three in the rooffe,
Verry well fleshed and exellent ffatt.
But I pray thee say nothing where-ere thou goe;
We wold not for two pence the k_ing_ shold it know.’
18
’Doubt not,’ said our k_ing_, ’my p_ro_mised secresye;
The k_ing_ shall neu_e_r know more on’t for mee.’
A cupp of lambes woole they dranke vnto him,
And to their bedds thé past p_re_sentlye.
The nobles next morning went all vp and downe
For to seeke the k_ing_ in eu_er_ye towne.
19
At last, att the millers house soone thé did spye him plaine,
As he was mounting vpon his faire steede;
To whome thé came p_re_sentlye, falling downe on their knees,
W_hi_ch made the millers hart wofullye bleed.
Shaking and quaking before him he stood,
Thinking he shold be hanged by the rood.
20
The k[ing] p_er_ceiuing him fearfully tremblinge,
Drew forth his sword, but nothing he said;
The miller downe did fall crying before them all,
Doubtinge the k_ing_ wold cut of his head.
But he, his kind curtesie for to requite,
Gaue him great liuing, and dubd him a k_nigh_t.
21
When as our noble k_ing_ came from Nottingam,
And w_i_th his nobles in Westminster lay,
Recounting the sports and the pastime thé had tane
In this late p_ro_gresse along on the way,
Of them all, great and small, hee did p_ro_test
The miller of Mansfeild liked him best.
22
’And now, my l_or_ds,’ q_uo_th the k_ing_, ’I am determined,
Against St Georges next sumptuous feast,
_Tha_t this old miller, o_u_r youngest confirmed k_nigh_t,
W_i_th his sonne Richard, shalbe both my guest;
For in this merryment it is my desire
To talke w_i_th this iollye k_nigh_t and the younge squier.’
23
When as the noble lords saw the k_ing_s merriment,
Thé were right ioyfull and glad in their harts;
A pursiuant thé sent straight on this busines,
The w_hi_ch oftentimes vsed those p_ar_ts.
When he came to the place where he did dwell,
His message merrilye then he did tell.
24
’God saue yo_u_r worshippe,’ then said the messenger,
’And grant yo_u_r ladye her owne harts desire;
And to yo_u_r sonne Rich_ard_ good fortune and happinesse,
_Tha_t sweet younge gentleman and gallant squier!
Our k_ing_ greets you well, and thus doth say;
You must come to the court on St Georges day.
25
’Therfore in any case fayle not to be in place.’
’I-wis,’ q_uo_th the miller, ’it is an odd iest!
What shold wee doe there?’ he sayd, ’infaith I am halfe afraid.’
’I doubt,’ q_uo_th Richard, ’to be hanged att the least.’
’Nay,’ q_uo_th the messenger, ’you doe mistake;
Our k_ing_ p_re_pares a great feast for yo_u_r sake.’
26
’Then,’ said the miller, ’now by my troth, messenger,
Thou hast contented my worshipp full well:
Hold! there is three farthings to quite thy great gentleness
For these happy tydings w_hi_ch thou dost me tell.
Let me see! hearest thou me? tell to our k_ing_,
Wee’le wayte on his mastershipp in eu_e_rye thing.’
27
The pursivant smyled at their simplicitye,
And making many leggs, tooke their reward,
And takeing then his leaue with great humilitye
To the k_ing_s court againe hee repayred,
Showing vnto his Grace in eu_e_rye degree
The k_nigh_ts most liberall giffts and great bountye.
28
When hee was gone away, thus can the miller say;
Heere comes expences and charges indeed!
Now must wee needs be braue, tho wee spend all wee haue;
For of new garments wee haue great need.
Of horsses and serving-men wee must haue store,
W_i_th bridles and sadles and twentye things more.
29
‘Tushe, S_i_r Iohn,’ q_uo_th his wiffe,
‘neither doe frett nor frowne,
You shall bee att noe more charges for mee;
For I will turne and trim vp my old russett gowne,
W_i_th eu_er_ye thing else as fine as may bee;
And on our mill-horsses full swift wee will ryd,
W_i_th pillowes and pannells as wee shall p_ro_vyde.’
30
In this most statelye sort thé rod vnto the court,
Their lusty sonne Rich_ard_ formost of all,
Who sett vp by good hap a cockes fether in his cappe;
And soe thé ietted downe towards the k_ing_s hall,
The merry old miller w_i_th his hands on his side,
His wiffe like Maid Marryan did mince at _tha_t tyde.
31
The k_ing_ and his nobles, _tha_t hard of their coming,
Meeting this gallant k_nigh_t w_i_th this braue traine,
‘Welcome, S_i_r K_nigh_t,’ q_uo_th hee,’ w_i_th this yo_u_r gay lady!
Good S_i_r Iohn Cockle, once welcome againe!
And soe is this squier of courage soe free.’
Q_uo_th Dicke, A botts on you! doe you know me?
32
Q_uo_th our k_ing_ gentlye, How shall I forgett thee?
Thou wast my owne bed-fellow; well _tha_t I wot.’
‘But I doe thinke on a tricke,’--‘Tell me, pray thee, Dicke!’
‘How w_i_th farting we made the bed hott.’
‘Thou horson [un]happy knaue,’ the[n] q_uo_th the k_nigh_t,
‘Speake cleanly to our [king,] or else goe shite!’
33
The king and his councellors hartilye laugh at this,
While the k_ing_ tooke them by the hand.
W_i_th ladyes and their maids, like to the q_ueene_ of spades
The millers wiffe did most orderlye stand,
A milkemaids curtesye at eu_er_ye word;
And downe these folkes were set to the bord.
34
Where the k_ing_ royally, w_i_th princely maiestye,
Sate at his dinner w_i_th ioy and delight;
When he had eaten well, to jesting then hee fell,
Taking a bowle of wine, dranke to the k_nigh_t.
‘Heere’s to you both!’ he sayd, ‘in ale, wine, and beere,
Thanking you hartilye for all my good cheere.’
35
Q_uo_th S_i_r Iohn Cockle, I’le pledge you a pottle,
Were it the best ale in Nottingam-shire.
‘But then,’ said our k_ing_, ‘I thinke on a thinge;
Some of yo_u_r lightfoote I wold we had heere.’
‘Ho, ho!’ q_uo_th Rich_ard_, ‘full well I may say it;
It’s knauerye to eate it and then to bewray it.’
36
‘What! art thou angry?’ q_uo_th our k_ing_ merrilye,
‘Infaith I take it verry vnkind;
I thought thou woldest pledg me in wine or ale heartil[y].’
‘Yee are like to stay,’ q_uo_th Dicke, ‘till I haue dind.
You feed vs w_i_th twatling dishes soe small;
Zounds! a blacke pudding is better then all.’
37
‘I, marry,’ q_uo_th our k_ing_, ‘_tha_t were a daintye thing,
If wee cold gett one heere for to eate.’
W_i_th _tha_t, Dicke straight arose,
and plucket one out of his h[ose,]
W_hi_ch w_i_th heat of his breech began for to sweate.
The k_ing_ made p_ro_fer to snatch it away;
‘It’s meate for yo_u_r m_aster_, good s_i_r, you shall stay!’
38
Thus w_i_th great merriment was the time wholy spent,
And then the ladyes p_re_pared to dance.
Old S_i_r Iohn Cockle and Rich_ard_ incontinent
vnto this practise the k_ing_ did advance;
Where w_i_th the ladyes such sport thé did make,
The nobles w_i_th laughing did make their heads ake.
39
Many thankes for their paines the k_ing_ did giue them then,
Asking young Richard if he wold be wed:
‘Amongst these ladyes faire, tell me w_hi_ch liketh thee.’
Q_uo_th hee, Iugg Grumball w_i_th the red head,
Shee’s my loue; shee’s my liffe; her will I wed;
Shee hath sworne I shall haue her maidenhead.
40
Then S_i_r Iohn Cockle the k_ing_ called vnto him;
And of merry Sherwood made him ou_er_seer,
And gaue him out of hand three hundred pound yearlye:
‘But now take heede you steale noe more of my deere,
And once a quarter let’s heare haue yo_u_r vew;
And thus, S_i_r Iohn Cockle, I bid thee adew!’
* * * * *
=a.=
5^6. 40.
7^1. into.
7^2. seeding.
17^3. 2 or 3.
17^6. 2.
18^1. saiy.
26^3. 3.
28^6. 20^{tye}_{;}.
29^2. charges of.
31^6. abotts.
34^3. resting. =b=, jesting.
36^1. hungry. =b=, angry.
40^3. 300^{li}_{:}.
=b.=
1^1. would ride.
1^3. hart: and dainty.
1^4. Unto.
2^4. him turn.
2^6. late in dark.
3^4. miller, your way you have lost.
3^6. not likely.
4^1, 5^1, 13^1. the king.
4^4. but some.
4^5. light thee not down.
4^6. Lest that: knock thy.
5^2. I lack.
5^3. one groat.
5^5. discharge all that.
6^6. I will.
7^1. unto.
7^2. seething.
7^3. after him the.
8^3. good _wanting_.
8^4. for to
8^5. prethee.
8^6. Shew me.
9^2. thus he.
9^4. of my.
9^5. here offered.
10^2. this youth’s.
10^3. and eke by.
10^5. Yes.
10^6. When he doth speak.
11^3. wil have laid on.
11^4. hempten.
11^6. with no.
12^2. within.
12^3. Or art.
12^4. I pray, quoth.
12^5. or.
13^4. With a hot bag-pudding.
14^1. I drink thee.
14^2. courtnols where ever they be.
14^3. Ile pledge you: thank you.
14^4. For your.
14^5. to your.
14^6. Do so, quoth Richard, but.
15^3. pasty then brought she forth.
15^4. but fir.
15^5. then said our.
17^1. said our.
17^2. said Richard.
17^4. wondrous fat.
17^5. But prethee.
18^1. not then said.
18^3. him then.
18^6. seek out.
19^1. they espy’d.
19^6. should have been.
20^1. fearfull and.
20^4. would have cut off.
20^5. But his kind curtesie there to.
20^6. him a living.
21^1. came home.
21^3. and pastime.
21^4. this his progresse along by.
21^5. this he.
21^6. Mansfields sport.
22^3. our last.
22^4. both be my guests.
22^6. with this.
23^1. kings pleasantnesse.
23^3. there was sent: on the.
23^4. Which had many times been in.
23^6. message orderly.
24^2. owne _wanting_.
24^4. gallant young.
24^5. he greets you all.
25^2. this is.
25^3. said, faith.
25^4. to be _wanting_.
26^3. here’s: great _wanting_.
26^5. to your.
27^5. in each.
27^6. gift: great _wanting_.
28^1. When as: thus did.
28^3. we must: though wee sell.
29^2. charges for.
29^4. else _wanting_.
30^1. rode they.
30^5. hand.
31^2. his brave.
32^1. how should.
32^2. mine own.
32^3. doe _wanting_: me that prethee Dick.
32^4. How we: did make.
32^5. happie: then.
32^6. our king.
33^1. laught.
33^2. both by.
33^4. so orderly.
33^6. the folks were sate at the side-board.
34^1. in princely.
34^3. jesting then they.
34^5. wine, ale.
34^6. you all for your country cheere.
35^3. I doe think.
35^6. ’Tis.
36^1. Why, art thou angry.
36^3. ale and wine.
36^4. Y’are.
37^2. If a man could get one hot.
37^3. hose.
37^4. for _wanting_.
37^5. made a.
37^6. ’Tis: you must.
38^5. Here with.
38^6. their hearts.
39^1. did the king give.
39^3. ladies free.
39^5. she will.
40^6. bid you.
=b= _is printed with the long lines broken into two_.
FOOTNOTES:
[60] 1599, August 28, two plays, being the first and second part of
[Thomas Heywood’s] ‘Edward the IIIJ^{th} and the Tanner of Tamworth,’ etc.
Arber, III, 147.
[61] See an appendix to this ballad. White’s edition has verbal
variations from the earlier, and supplies three lines and a half-line
which have been cut off in the Bodleian copy of Danter. Heber had a
copy of ‘King Edward 4th and the Tanner,’ printed by Edward Allde
(1602-23), whether the “history” or the “ballad” does not appear.
[62] Printed by Ritson, Pieces of Ancient Popular Poetry, 1791, p. 57.
Given in an appendix.
[63] “Seemingly,” says Mr Chappell, “not one bound up with the
collection of ballads.”
Selden, in the second edition of his Titles of Honor (for so he chooses
to spell), 1631, p. 836, remarks: Nor is that old pamphlet of the
Tanner of Tamworth and King Edward the Fourth so contemptible but
that wee may thence note also an observable passage wherein the use
of making Esquires by giving collars is expressed. He then quotes two
stanzas from the history:
‘A coller! a coller!’ our king gan cry; Quoth the tanner, It will breed
sorrow; For after a coller commeth a halter, I trow I shall be hangd to
morrow.
‘Be not afraid, tanner,’ said our king; ‘I tell thee, so mought I thee,
Lo, here I make thee the best esquire That is in the North Countrie!’
(This passage is not in the first edition, of 1614, as I am informed
by Mr Macmath, who has copied it for me.) Percy says that he has
“restored” one of his stanzas from the last of these two. The
restoration might as well have been made from Danter’s history, which
he was using. There is a trifling variation from Danter in the fourth
verse, as given by Selden and repeated by Percy, which is found in
White’s edition.
[64] ‘The King and the Barker’ is less extravagant and more rational
here; the king simply orders the barker ‘a hundred shilling in his
purse.’ But both the esquiring (knighting) and the estate are found in
still older poems which remain to be mentioned.
[65] A pervasive boorishness, with some coarse pleasantry,
distinguishes the seventeenth-century tales disadvantageously from the
older ones.
[66] There is an entry of ‘Miller and King’ (among 128 ballads),
December 14, 1624; another entry, June 30, 1625: Stationers’ Registers,
Arber, IV, 131, 143. The broadside is in many of the collections: ‘A
pleasant ballad of King Henry second and the Miller of Mansfield,’
Roxburghe, I, 178, 228, III, 853, the first reprinted by Chappell,
Roxburghe Ballads, I, 537; Pepys, I, 528, No 272; Bagford, II, 25;
Wood, 401, fol. 5 b, ‘A pleasant new ballad of the Miller of Mansfield
in Sherwood and K. Henry the Second,’ Wood, 254, iv, ‘The pleasant
history of the Miller of Mansfield,’ etc., dated 1655; Crawford, No
491. Also, ‘Kinge and Miller,’ Percy MS., p. 235, Hales and Furnivall,
II, 147 (see Appendix); Percy’s Reliques, 1765, III, 179, the MS. copy
“with corrections” from the Pepys.--Not in the ballad-stanza.
[67] John the Reeve is mentioned (in conjunction with Rauf Coilyear) by
G. Douglas, Palice of Honour, 1501, Small, I, 65, v. 3, and by Dunbar,
about 1510, Small, I, 105, v. 33; John the Reeve again by Lindsay, The
Complaynt of the Papingo, 1530, Chalmers, I, 318.
[68] Reprinted in Laing’s Select Remains of the Ancient Popular
Poetry of Scotland, from the edition of St Andrews, 1572; thence in
Charlemagne Romances, No 6, ed. S. J. Herrtage, Early English Text
Society, 1882. As to the date, see Max Tonndorf, Rauf Coilyear, Halle
a. S. 1893, p. 13 ff.
[69] So far 767 verses of 975: the rest is not pertinent and is very
poor stuff. ‘Rauf Coilyear’ is a clever piece, but I cannot think with
Mr Herrtage that it is “quite original.” Its exaggerations suggest
a second hand; the author means to pepper higher with his churl’s
discourtesy than had been done before. The ‘marshalling’ in 183-86
recalls ‘John the Reeve,’ 342-50.
[70] Printed in Hartshorne’s Ancient Metrical Tales, p. 35. Professor
Kittredge has called my attention to a stanza of Occleve’s which shows
that the belief that Edward III went about in disguise among his
subjects prevailed not long after the king’s death.
O worthy kyng benigne, Edwarde the laste, Thow hadest ofte in thyne
hart a drede impressede Whiche that thyne humble goste fulle sore
agaste, And to knowe yf thow cursed were or blessede, Amonge the peple
ofte hast thow the dressede Into the contrey, in symple aray alone, To
heere what men seide of thy persone.
Occleve, De Regimine Principum, ed. Wright (Roxb. Club), p. 92.
[71] So John the Reeve; five or six times in each.
[72] Printed in The British Bibliographer, IV, 81, thence in
Hartshorne’s Metrical Tales, p. 293, and, with some improvements from
the MS., in Hazlitt’s Early Popular Poetry, I, 11. ‘The King and the
Hermit’ is told as ‘the romans says,’ v. 15. It is, as Scott has
explained, the source of a charming chapter (the sixteenth of the first
volume) of ‘Ivanhoe.’ There are many agreements with ‘The King and the
Shepherd.’
[73] Giraldi Cambrensis Opera, ed. Brewer, Speculum Ecclesiæ, IV,
213-15, about 1216.
[74] See Geoffrey of Monmouth, Hist. Reg. Brit., vi, 12, Wace, Roman de
Brut, 7111-44, ed. Le Roux de Lincy, I, 329, Layamon’s Brut, 14297-332,
Madden, II, 174 f.; and for other drinking-calls besides these, Wace,
Roman de Rou, Part iii, 7357-60, ed. Andresen, II, 320.
[75] Preface to ‘The King and Miller of Mansfield.’
[76] 1578, September 25, licensed to Ric. Jones, ‘A merry Songe of a
Kinge and a Shepherd:’ Arber, II, 338.
1624, December 14, to Master Pavier and others, among 128 ballads,
‘King and Shepperd:’ Arber, IV, 131.
Wood, 401, fol. 1 b; Douce, I, fol. I b; Euing, Nos 331, 332; Pepys, I,
76, No 36, I, 506, No 260; Crawford, No 648; Roxburghe, I, 504, printed
by Chappell, III, 210.
[77] This is as old as Asser; Annales, Wise, Oxford, 1722, p. 30.
[78] ‘King James and the Tinker,’ Douce, III, fol. 126 b, fol. 136 b;
no printer, place, or date. ‘King James the First and the Tinker,’
Garland of Mirth and Delight; no place or date. The same: ‘King James
and the Tinkler,’ Dixon, in Richardson’s Borderer’s Table-Book, VII,
7, and Ancient Poems, Ballads, and Songs, etc., p. 109, Percy Society,
vol. xvii. ‘James V. and the Tinker,’ A. Small, Interesting Roman
Antiquities recently discovered in Fife, p. 283. ‘King James the First
and the fortunate Tinker,’ The King and Tinker’s Garland, containing
three excellent songs, Sheffield, 1745, Halliwell, Notices of Fugitive
Tracts, p. 29, No 36, Percy Society, vol. xxix (not seen). ‘The King
and the Tinkler,’ a _rifacimento_, in Maidment’s Scotish Ballads and
Songs, 1859, p. 92; Kinloch MSS, V, 293.
[79] ‘The Loyal Forrister, or Royal Pastime,’ printed for C. Bates in
Pye-Corner (c. 1696), Euing, No 156. ‘King William and his Forrester,’
no imprint, c. 1690-94, Crawford, No 1421. ‘The King and the
Forrester,’ Roxburghe, III, 790, Ebsworth VII, 763 (Bow Church-Yard?).
‘King William going a hunting,’ Motherwell’s MS., p. 101, from
tradition.
[80] ‘The Royal Frolick,’ etc., Pepys, II, 313, in Ebsworth’s Roxburghe
Ballads, VII, 756.
[81] ‘The Royal Recreation, or A Second Part, containing the passages
between the Farmer and his Wife at their return home, where they found
the King with his Noble Retinue.’ Pepys, II, 326, Roxburghe, II, 397,
Ebsworth, VII, 761.
[82] ‘The King and the Cobler.’ Charles Dennison, at the sign of
the Stationers’ Arms within Aldgate (1685-89, Chappell). Wood, 254,
xi; Pepys, Penny Merriments, vol. i; Halliwell, Notices of Popular
Histories, p. 48, Percy Society, vol. xxiii, Newcastle, without date;
Manchester Penny Histories (last quarter of the eighteenth century),
Liebrecht, Zur Volkskunde, p. 482, No 6.
[83] Kulda, Moravské n. pohádky, etc., 1874, I, 56, No 20, in Wenzig,
Westslavischer Märchenschatz, p. 179.
Tonndorf, in the dissertation already cited, remarks with truth that
meetings of king and subject (or the like) are quite regularly a sequel
or incident of a hunt, and refers to Grimms, Deutsche Sagen, Nos 550,
563, 566; Cardonne, Mélanges de Littérature orientale, pp. 68, 87,
110; Grässe, Gesta Romanorum, cap. 56, I, 87, Anhang, No 16, II, 198;
Othonis Melandri Ioco-Seria, No 338, p. 292, ed. Frankfort, 1617. In
four of these cases the noble person loses his way, and has to seek
hospitality. In Deutsche Sagen, No 566, we have a charcoal-burner
who relieves a prince’s hunger and is afterwards entertained at the
prince’s table.
274
OUR GOODMAN
=A.= Herd’s MSS, I, 140; Herd’s Ancient and Modern Scottish Songs,
1776, II, 172.
=B.= ‘The Merry Cuckold and Kind Wife,’ a broadside: Printed and Sold
at the Printing-Office in Bow Church-Yard, London.
The copy in Ritson’s Scotish Song, I, 231, is from Herd, 1776; that in
the Musical Museum, No 454, p. 466, is the same, with change of a few
words. In Smith’s Scotish Minstrel, IV, 66, the piece is turned into a
Jacobite ballad. The goodwife says she is hiding her cousin McIntosh;
‘Tories,’ says the goodman.
=B= was reprinted by Dixon in Ancient Poems, Ballads, and Songs of the
Peasantry of England, p. 211, Percy Society, vol. xvii, ‘Old Wichet and
his Wife,’ from a copy “obtained in Yorkshire” and “collated” with the
Aldermary broadside. The fifth adventure (in the closet) is lacking.
Two or three staves, with variations for the better, are given from
memory in Notes and Queries, First Series, VI, 118, as communicated by
Mr R. C. Warde, of Kidderminster. (See the notes.)
Percy made =B= over in two shapes, whether for simple amusement or for
the projected extension of the Reliques: ‘Old Wichet’s Discoveries,’
‘Old Wichard’s Mistakes,’ among Percy’s papers.
=A.= Our goodman, coming home, sees successively a saddle-horse,
pair of jack-boots, sword, powdered wig, muckle coat, finally a man,
where none such should be. He asks the goodwife how this came about
without his leave. She responds contemptuously that the things he has
supposed himself to see are, respectively, a sow (milch-cow), a pair of
water-stoups, a porridge-spurtle, a clocken-hen, a pair of blankets,
a milking-maid, which her mother has sent her. Far has he ridden, but
a saddle on a sow’s (cow’s) back, siller spurs on water-stoups, etc.,
long-bearded maidens, has he never seen.
=B.= In =B= Old Wichet comes upon _three_ horses, swords, cloaks,
pairs of boots, pairs of breeches, hats, and in the end three men
in bed. Blind cuckold, says the wife, they are three milking-cows,
roasting-spits, mantuas, pudding-bags, petticoats, skimming-dishes,
milking-maids, all presents from her mother. The like was never known,
exclaims Old Wichet; cows with bridles and saddles, roasting-spits with
scabbards, etc., milking-maids with beards!
A song founded on this ballad was introduced into the play of “Auld
Robin Gray,” produced, according to Guest’s History of the Stage, at
the Haymarket, July 29, 1794. This song is a neat résumé of the ballad,
with a satisfactory catastrophe.[84] See an appendix.
A Gaelic copy, taken down by Rev. Alexander Stewart, of Ballachulish,
from the recitation of an old man in his parish whose father had been
in the way of singing it sixty years before, is plainly based upon
=A=. The goodman, coming home unexpectedly, finds a boat on the beach,
a horse at the door, etc. These and other things are explained by his
wife as gifts from her mother. Far has he wandered, but never saw a
saddle on a cow, etc. Alexander Stewart, ’Twixt Ben Nevis and Glencoe,
1885, p. 76 ff.
A ballad known and sung throughout Flemish Belgium, ‘Mijn man komt
thuis,’ is formed upon the pattern of =A=, and must have been derived
from =A=, unless the two have a common source. Two copies are given in
Volkskunde (Tijdschrift voor Nederlandsche Folklore), II, 49-58, by
the editors, Messrs A. Gittée and Pol de Mont, a third by Pol de Mont,
V, 20. A man comes home late, and sees in his bedroom a strange hat,
overcoat, and other articles of clothing, and asks whose they are. His
wife answers that they are a water-pot, a straw mattress, etc., which
her mother has sent her. Travel the world round, he has never seen a
water-pot with a band about it, a straw mattress with two sleeves,
etc. In the last adventure of the first copy, the husband finds a man
in the room, and his wife flatly answers, it is a lover my mother has
sent me. The second copy ends a little better, but not well. The man is
explained to be a foster-child sent by his wife’s mother, and so in the
third. The husband has travelled the world round, but a foster-child
with whiskers has he never seen. The wife packs out of the house. He
has travelled the world round, but a wife like his he wishes never to
see again.
Friedrich Wilhelm Meyer, in 1789, turned =B= into German in very
happy style, furnishing a _dénoûment_ in which the man gives his
wife a beating and explains his cuffs as caresses which her mother
has sent her. Meyer’s ballad was printed in 1790, in the Göttingen
Musenalmanach, p. 61 ff., and the same year in Lieder für fröhliche
Gesellschaften, p. 37 (Hamburg). It had great and immediate success,
was circulated as a broadside, and was taken up by the people, in
whose mouth it underwent the usual treatment of ballads traditionally
propagated.[85] From Germany it spread into Scandinavia and Hungary,
and perhaps elsewhere. German varieties are: ‘Des Mannes Heimkehr,’
Hoffmann u. Richter, p. 225, No 195; ‘Wind über Wind,’ Simrock, p. 375,
No 241; ‘Des Ehemannes Heimkehr,’ Ditfurth, Fränkische Volkslieder,
II^r Theil, p. 61, No 61; Firmenich, Germaniens Völkerstimmen, III,
66; ‘Der Bauer u. sein Weib,’ Erlach, IV, 90; ‘Der betrogene Ehemann,’
Pröhle, p. 143; Walter, p. 97; ‘O Wind, O Wind, O Wind!’ Zurmühlen
(Dülkener Fiedler), p. 101. (The last four lack the beating.)
The only Scandinavian copy that I have seen is the Swedish ‘Husarerna,’
in Bergström och Nordlander, Sagor, Sägner och Visor, 1885, p. 93.
For indication of others, Danish, Norwegian, and Swedish (including a
broadside as early as 1799), see, particularly, Olrik, Danmarks gamle
Folkeviser, V, II, 211 f., and note ***; also, Dybeck’s Runa, 1^a
Samlingen, 1865, I, 89 (where the beginnings of two stanzas are cited);
Afzelius, ed. 1880, II, 285.
Magyar (Szekler), Kríza, Vadrózsák, p. 242, No 483; Aigner, p. 149.
=French.= A similar ballad is common in France, especially in the south.
Poésies pop. de la France, MSS: II, fol. 54, ‘Marion;’ III, 60 (printed
in Revue des Traditions pop., II, 66), 62, 64, Puy-de-Dôme; 68,
Auvergne; 69, ‘Zjean et Mariou,’ Bourbonnais; 71, Pays de Caux; 72, ‘Le
jaloux,’ environs de Toulouse; 74, Gascogne (Rolland, II, 211); 75,
Languedoc; 76, ‘Lo surprero,’ Limousin (Rolland, II, 212); 78, ‘Le mari
de Marion,’ Normandie; 80, 66, ‘Le mari jaloux,’ Bouches-du-Rhône; 82,
‘Marion,’ Provence; 83, Loiret; 84, ‘La rusade,’ Limousin;’ 87, ‘Lou
jolous’ (Rolland, II, 213, Revue des Trad. pop., I, 71), Limoges; VI,
381 vo, ‘Jeannetoun’ (Rolland, II, 214), Quercy. ‘Lou jalous,’ Arbaud,
Chants pop. de la Provence, II, 152. ‘Lou galant,’ Atger, Revue des
Langues romanes, VI, 261, and Poésies pop. en Langue d’oc, p. 53. ‘Las
finessos de la Marioun,’ Moncaut, Littérature pop. de la Gascogne,
p. 316 = Bladé, Poésies pop. de la Gascogne, II, 116 f. Revue des
Traditions pop., II, 64, Cévennes. Daudet, Numa Roumestan, ed. 1881, p.
178, Provence = Revue des Tr. pop., II, 65, Ouest de la France. ‘Lou
Tsalous, Daymard, Bulletin de la Société des Études,’ etc., du Lot,
IV, 100, 1878, Vieux chants pop. rec. en Quercy, 1889, p. 92. ‘Las
rebirados de Marioun,’ Soleville, Chants pop. du Bas-Quercy, p. 22;
partly, in Pouvillon, Nouvelles réalistes, ed. 1878, p. 151. Victor
Smith in Romania, IX, 566-68, three copies, Forez, Velay, bas-limousin.
‘Le mari soupçonneux,’ Tarbé, Romancero de Champagne, II, 98, Ardennes.
‘La chanson de la bergère,’ Puymaigre, Chants pop. rec. dans le Pays
messin, 1865, p. 215, 1881, I, 263. ‘Les répliques de Marioun,’
Almanach des Traditions pop., 1882, p. 86, in Rolland, II, 208, No 162
a, environs de Lorient. ‘Las respounsos de Marioun,’ Laroche, Folklore
du Lauraguais, p. 211. “Le Chroniqueur du Périgord et du Limousin,
Périgueux, 1853, p. 109.” “Le Pélerinage de Mireille, p. 173.” (The
last two I have not seen.)
For the most part, the colloquy runs in this wise: ‘Where were you last
evening, Marion?’ ‘In the garden, picking a salad.’ ‘Who was it you
were talking with?’ ‘A gossip of mine’ (camarade, voisine, cousine,
sœur, servante, etc.). ‘Do women wear a sword?’ ‘It was no sword, but
a distaff.’ ‘Do women wear breeches?’ ‘She was kilted up.’ ‘Have women
a moustache?’ ‘She had been eating mulberries.’ ‘It is too late for
mulberries.’ ‘They were last year’s’ (an autumn branch, etc.). ‘I will
cut off your head.’ ‘And what will you do with the rest?’ ‘Throw it
out of the window.’ ‘Les corbeaux (cochons, chiens, chats, mouches,
couteliers, capucins, anges, etc.) en feront fête.’ In a few instances,
to end the more smartly, the husband is made to promise (or the wife
to ask) forgiveness for this time, and the wife adds, aside, ‘and many
more.’ ‘You will play off no more tricks on me.’ ‘Forgive this, and I
will, a good many.’ (Rolland.) ‘Pardon this fault; to-morrow I will
commit another.’ (Victor Smith.) ‘Get up: I pardon you.’ ‘What dolts
men are! What can’t we make them believe!’ (MSS, III, 78.) Etc.
In some half dozen copies, Marion has been at the spring (not in the
garden), and has stayed suspiciously long, which she accounts for by
her having found the water muddied. After this, and in a few copies
which have no garden or spring, the matter is much the same as in
the English ballad; there is a sword on the mantel-shelf (a gun on
the table), boots (cane) behind the door, a man where nae man should
be. Nearest of all to the English is one of Victor Smith’s ballads,
Romania, IX, 566: ‘Whose horse was that in the stable last night?’ ‘No
horse, but our black cow.’ ‘A cow with a saddle?’ ‘No saddle; it was
the shadow of her horns.’ ‘Whose breeches, boots, sabre, hat?’ ‘qui
était couché à ma place?’ The mulberries are nearly a constant feature
in the French ballad.
There is an approach to a serious termination in MSS, III, 87: ‘Say
your prayers, without so much noise.’ ‘At least put my bones in the
ground.’ And in Puymaigre: ‘I will take you to Flanders and have you
hanged.’ ‘Leave the gallows for the great robbers of France.’ The
copies, MSS, III, 62, 71, end, prosaically,’Jamais je n’ai vu ni fille
ni femme qui sent la putain comme toi;’ ‘Femme qui m’a trompé la mort a
méritée!’
The lace-makers of Vorey are wont to recite or sing this ballad winter
evenings as a little drama: V. Smith, Romania, IX, 568, note. So the
young girls in Lorraine during carnival, Puymaigre, I, 263; and the
young fellows in Provence, Arbaud, II, 155 f.
=Italian.= ‘Le repliche di Marion,’ Nigra, Canti popolari del Piemonte,
p. 422, No 85, A, B, C. The Piedmontese copies follow the French
closely, beginning with picking salad in the garden, and ending with
‘your peace is made,’ as in Poésies p. de la France, MSS, III, 64. ‘Il
marito geloso’ (incomplete), Ferraro, Canti p. monferrini, p. 93, No
70. ‘La sposa colta in fallo,’ Bernoni, Canti p. veneziani, puntata ix,
No 8, p. 12. (Mariù goes on her knees and asks pardon, and is told to
get up, for pardoned she is.) ‘Bombarion,’ Ferrari, first in Giornale
di Filologia romanza, III, No 7, p. 74, 1880, and then in Archivio per
le Tradizioni popolari, Canti p. in San Pietro Capofiume, VII, 398,
1888 (peace is made). All the Italian versions keep near to the French,
having nothing original but an unimportant insertion, ‘Chi ti farà la
minestra?’ etc., just before the end.[86]
=Catalan.= ‘La Trapassera,’ Briz y Saltó, Cants pop. catalans, II,
69. Father hears daughter talking with lover in the garden; the usual
questions and replies; improved, or corrupted, at the end.
For serious ballads, Scandinavian, Spanish, etc., exhibiting similar
questions and evasions, see ‘Clerk Saunders,’ No 69 =F=, and the
remarks at II, 157 f., 512 a, III, 509 a, IV, 468 a. The romance ‘De
Blanca-Niña’ occurs in the Cancionero de Romances of 1550. The oldest
Scandinavian ballad of the class is one of Syv’s, printed in 1695.
* * * * *
Herd, 1776, is translated by Wolff, Halle der Völker, I, 96,
Hausschatz, p. 230; by Fiedler, Geschichte der schottischen
Liederdichtung, I, 32; by Knortz, Schottische Balladen, p. 82.
A
Herd’s MSS, I, 140.
1
Hame came our goodman,
And hame came he,
And then he saw a saddle-horse,
Where nae horse should be.
2
‘What’s this now, goodwife?
What’s this I see?
How came this horse here,
Without the leave o me?’
_Recitative._ ‘A horse?’ quo she.
‘Ay, a horse,’ quo he.
3
‘Shame fa your cuckold face,
Ill mat ye see!
’Tis naething but a broad sow,
My minnie sent to me.’
‘A broad sow?’ quo he.
‘Ay, a sow,’ quo shee.
4
‘Far hae I ridden,
And farer hae I gane,
But a sadle on a sow’s back
I never saw nane.’
5
Hame came our goodman,
And hame came he;
He spy’d a pair of jack-boots,
Where nae boots should be.
6
‘What’s this now, goodwife?
What’s this I see?
How came these boots here,
Without the leave o me?’
‘Boots?’ quo she.
‘Ay, boots,’ quo he.
7
‘Shame fa your cuckold face,
And ill mat ye see!
It’s but a pair of water-stoups,
My minnie sent to me.’
‘Water-stoups?’ quo he.
‘Ay, water-stoups,’ quo she.
8
‘Far hae I ridden,
And farer hae I gane,
But siller spurs on water-stoups
I saw never nane.’
9
Hame came our goodman,
And hame came he,
And he saw a sword,
Whare a sword should na be.
10
‘What’s this now, goodwife?
What’s this I see?
How came this sword here,
Without the leave o me?’
‘A sword?’ quo she.
‘Ay, a sword,’ quo he.
11
‘Shame fa your cuckold face,
Ill mat ye see!
It’s but a porridge-spurtle,
My minnie sent to me.’
‘A spurtle?’ quo he.
‘Ay, a spurtle,’ quo she.
12
‘Far hae I ridden,
And farer hae I gane,
But siller-handed spurtles
I saw never nane.’
13
Hame came our goodman,
And hame came he;
There he spy’d a powderd wig,
Where nae wig shoud be.
14
‘What’s this now, goodwife?
What’s this I see?
How came this wig here,
Without the leave o me?’
‘A wig?’ quo she.
‘Ay, a wig,’ quo he.
15
‘Shame fa your cuckold face,
And ill mat you see!
’Tis naething but a clocken-hen,
My minnie sent to me.’
‘Clocken hen?’ quo he.
‘Ay, clocken hen,’ quo she.
16
‘Far hae I ridden,
And farer hae I gane,
But powder on a clocken-hen
I saw never nane.’
17
Hame came our goodman,
And hame came he,
And there he saw a muckle coat,
Where nae coat shoud be.
18
‘What’s this now, goodwife?
What’s this I see?
How came this coat here,
Without the leave o me?’
‘A coat?’ quo she.
‘Ay, a coat,’ quo he.
19
‘Shame fa your cuckold face,
Ill mat ye see!
It’s but a pair o blankets,
My minnie sent to me.’
‘Blankets?’ quo he.
‘Ay, blankets,’ quo she.
20
‘Far hae I ridden,
And farer hae I gane,
But buttons upon blankets
I saw never nane.’
21
Ben went our goodman,
And ben went he,
And there he spy’d a sturdy man,
Where nae man shoud be.
22
‘What’s this now, goodwife?
What’s this I see?
How came this man here,
Without the leave o me?’
‘A man?’ quo she.
‘Ay, a man,’ quo he.
23
‘Poor blind body,
And blinder mat ye be!
It’s a new milking-maid,
My mither sent to me.’
‘A maid?’ quo he.
‘Ay, a maid,’ quo she.
24
‘Far hae I ridden,
And farer hae I gane,
But lang-bearded maidens
I saw never nane.’
B
A broadside: Printed and Sold at the Printing-Office in Bow
Church-Yard, London.
1
O I went into the stable,
and there for to see,
And there I saw three horses stand,
by one, by two, and by three.
2
O I calld to my loving wife,
and ‘Anon, kind sir!’ quoth she:
‘O what do these three horses here,
without the leave of me?’
3
‘Why, you old cuckold, blind cuckold,
can’t you very well see?
These are three milking-cows,
my mother sent to me.’
4
‘Heyday! Godzounds! Milking-cows with bridles and saddles on!
the like was never known!’
Old Wichet a cuckold went out,
and a cuckold he came home.
5
O I went into the kitchen,
and there for to see,
And there I saw three swords hang,
by one, by two, and by three.
6
O I calld to my loving wife,
and ‘Anon, kind sir!’ quoth she:
‘O what do these three swords do here,
without the leave of me?’
7
‘Why, you old cuckold, blind cuckold,
can’t you very well see?
They are three roasting-spits,
my mother sent to me.’
8
‘Heyday! Godzounds! Roasting spits with scabbards on!
the like was never known!’
Old Wichet a cuckold went out,
and a cuckold he came home.
9
O I went into the parlour,
and there for to see,
And there I saw three cloaks hang,
by one, by two, and by three.
10
O I calld to my loving wife,
and ‘Anon, kind sir!’ quoth she:
‘O what do these three cloaks do here,
without the leave of me?’
11
‘Why, you old cuckold, blind cuckold,
can’t you very well see?
These are three mantuas,
my mother sent to me.’
12
‘Heyday! Godzounds! Mantuas with capes on!
the like was never known!’
Old Wichet a cuckold went out,
and a cuckold he came home.
13
I went into the pantry,
and there for to see,
And there I saw three pair of boots hang,
by one, by two, and by three.
14
O I called to my loving wife,
and ‘Anon, kind sir!’ quoth she:
‘O what do these three pair of boots do here,
without the leave of me?’
15
‘Why, you old cuckold, blind cuckold,
can’t you very well see?
These are three pudding-bags,
my mother sent to me.’
16
‘Heyday! Godzounds! Pudding-bags with spurs on!
the like was never known!’
Old Wichet a cuckold went out,
and a cuckold he came home.
17
I went into my closet,
and there for to see,
And there I saw three pair of breeches lie,
by one, by two, and by three.
18
O I calld to my loving wife,
and ‘Anon, kind sir!’ quoth she:
‘O what do these three pair of breeches do here,
without the leave of me?’
19
‘Why, you old cuckold, blind cuckold,
can’t you very well see?
These are three petticoats,
my mother sent to me.’
20
‘Heyday! Godzounds! Petticoats with waistbands on!
the like was never known!’
Old Wichet a cuckold went out,
and a cuckold he came home.
21
I went into the dairy,
and there for to see,
And there I saw three hats hang,
by one, by two, and by three.
22
I calld to my loving wife,
and ‘Anon, kind sir!’ quoth she:
‘Pray what do these three hats do here,
without the leave of me?’
23
‘Why, you old cuckold, blind cuckold,
can’t you very well see?
They are three skimming-dishes,
my mother sent to me.’
24
‘Heyday! Godzounds! Skimming-dishes with hat-bands on!
the like was never known!’
Old Wichet a cuckold went out,
and a cuckold he came home.
25
I went into the chamber,
and there for to see,
And there I saw three men in bed lie,
by one, by two, and by three.
26
I called to my loving wife,
and ‘Anon, kind sir!’ quoth she:
‘O what do these three men in bed,
without the leave of me?’
27
‘Why, you old cuckold, blind cuckold,
don’t you very well see?
They are three milking-maids,
my mother sent to me.’
28
‘Heyday! Godzounds! Milking-maids with beards on!
the like was never known!’
Old Wichet a cuckold went out,
and a cuckold he came home.
* * * * *
=A.=
1^1. _Or_, Our goodman came hame at een.
2^1. _Or_, How came this horse here?
2^2. _Or_, How can this be?
3^1. _Or_, Ye ald blind dottled carl.
3^2. _Or_, Blind mat ye be!
3^3. _Or_, a bonny milk-cow.
3^4. My minny _is an alternative and necessary reading for_ The miller.
4^1. _Or_, travelld.
4^2. _Or_, And meikle hae I seen.
4^4. [_Or_,] Saw I.
5^1. _Or_, Our goodman came hame.
7^4. The cooper sent.
_9-12. At the end, with a direction as to place: not completely
written out._
9^1. Hame, etc.
10^3. O how.
12^{1,2}. Weel far hae I travelled,
And muckle hae I seen.
12^4. Saw I never nane.
_The regular readings have been inserted or substituted. In printing,
Herd gave sometimes the alternative readings, sometimes not._
=B.=
_Printed in seven staves, or stanzas, of eight long lines._
1^1, 2^1. Oh.
15^3, 19^3. the three.
Notes and Queries, First Series, VI, 118 (“Shropshire Ballad”).
I went into the stable,
To see what I could see;
I saw three gentlemen’s horses,
By one, by two, by three.
I called to my loving wife,
‘Coming, sir!’ says she:
‘What meaneth these three horses here,
Without the leave of me?’
‘You old fool! you blind fool!
Can’t you, won’t you, see?
They are three milking-cows,
That my mother sent to me.’
‘Odds bobs, here’s fun! Milking-cows with saddles on!
The likes I never see!
I cannot go a mile from home
But a cuckold I must be.’
I went into the parlour,
To see what I could see;
I saw there three gentlemen,
By one, by two, by three.
I called to my loving wife,
‘Coming, sir!’ said she:
‘What bringeth these three gentlemen here,
Without the leave of me?’
‘You old fool! you blind fool!
Can’t you, won’t you, see?
They are three milking-maids,
That my mother sent to me.’
‘Odds bobs, here’s fun! Milking-maids with breeches on!
The likes I never see!
I cannot go a mile from home
But a cuckold I must be.’
The unhappy husband next wanders into the pantry, and discovers ‘three
pairs of hunting-boots,’ which his spouse declares are
’ ... milking-churns,
Which my mother sent to me.’
‘Odds bobs, here’s fun! Milking-churns with spurs on!
The likes I never see!
I cannot go a mile from home
But a cuckold I must be.’
The gentlemen’s coats, discovered in the kitchen, are next disposed
of, but here my memory fails me.
APPENDIX
‘’Twas on Christmas Day,’ found on a slip, “Sold at No 42 Long Lane,”
in a volume in the British Museum, 1876. e (not paged, but at what
would be p. 57), and again in The New Covent Garden Concert, London,
Printed and sold by J. Evans, No 41 Long-Lane, West Smithfield, Br.
Mus. 1077. g. 47 (4), dated in the catalogue “1805?”
’Twas on Christmas Day
Father he did wed;
Three months after that
My mother was brought to bed.
My father he came home,
His head with liquor stord,
And found in mother’s room
A silver-hilted sword.
Fiddle de dum de de, etc.
‘How came this sword here?’
My mother says, says she,
‘Lovee, ’tis a poker
Antee sent to me.’
Father he stumbld and star’d;
’Twas the first, I ween,
Silver-headed poker
He had ever seen.
Father grumbled on,
But getting into bed
Egad! as luck fell out,
A man popd up his head;
‘That’s my milk-maid,’ says she;
Says dad, ‘I never heard
In all my travels yet
A milk-maid with a beard.’
My father found a whip,
And very glad was he;
‘And how came this whip here,
Without the leave of me?’
‘Oh! that’s a nice strap-lace
My antee sent to me;’
Egad! he lac’d her stays,
And out of doors went she.
FOOTNOTES:
[84] I am indebted for information concerning this song, and for a
copy, to Mr P. Z. Round.
[85] Hoffmann von Fallersleben, Unsere Volksthümlichen Lieder, No 478.
It begins:
Ich ging in meinen Stall, da sah ich, ei! ei! An Krippen standen
Pferde, eins, zwei, drei.
[86] ‘O Violina, tu hai le gote rosse,’ a very pretty little
_contrasto_ bundled by Tigri with his _rispetti_ (Canti p. toscani, p.
284, No 1023, ed. 1856), is a skirmish between father and daughter,
after the fashion of our ballad. (‘My cheeks are stained with
mulberries.’ ‘Show me the mulberries.’ ‘They are on the hedges.’ ‘Show
me the hedges.’ ‘The goats have eaten them.’ ‘Show me the goats,’ etc.)
Ferrari, in an excellent paper in the journal referred to above, tries
to make out some historical relation between the two. He seems to me to
take ‘La Violina’ quite too seriously.
275
GET UP AND BAR THE DOOR
=A. a.= ‘Get up and bar the Door,’ Herd, The Ancient and Modern Scots
Songs, 1769, p. 330; Ancient and Modern Scottish Songs, 1776, II,
159. =b.= [Pinkerton], Select Scotish Ballads, 1783, II, 150.
=B.= ‘John Blunt,’ Macmath MS., p. 74.
=C.= ‘Johnie Blunt,’ Johnson’s Museum, IV, 376, No 365, 1792.
The copy in Johnson’s Museum, volume three, No 300, p. 310, 1790, is
=A a= with two slight changes; that in Ritson’s Scotish Song, I, 226,
1794, is =A a=. =A b= is substituted for =A a= in the third edition
of Herd, 1791, II, 63. Christie, II, 262, who follows =A a=, but with
changes, gives as a refrain, “common in the North of Scotland from
time immemorial,”
And the barring o our door,
Weel, weel, weel!
And the barring o our door, weel!
=A, B.= A housewife is boiling puddings anight; a cold wind blows in,
and her husband bids her bar the door; she has her hands in her work
and will not. They come to an agreement that whoever speaks first
shall bar the door. Two belated travellers are guided to the house
by the light which streams through an opening. They come in, and,
getting no reply to their questions or response to their greetings,
fall to eating and drinking what they find; the goodwife thinks
much, but says naught. One of the strangers proposes to the other to
take off the man’s beard, and he himself will kiss the goodwife. Hot
water is wanting (for scalding), suggests the second; but the boiling
pudding-bree will serve, answers the first. The goodman calls out,
Will ye kiss my wife and scald me? and having spoken the first word
has to bar the door.
=C.= In =C= man and wife are in bed, and the travellers haul the woman
out and lay her on the floor: this makes the husband give tongue.
Stenhouse notes that this ballad furnished Prince Hoare with the
principal scene in his musical entertainment of “No Song, no Supper,”
produced in 1790, and long a favorite on the stage. (Musical Museum,
1853, IV, 292.)
This tale is one of a group which may or may not have had a single
archetype. Of the varieties, that which comes nearest is the first
story in Straparola’s Eighth Day. Husband and wife are sitting near
the entrance of their house one night; the husband says, It is time
to go to bed, shut the door; she says, Shut it yourself. They make
a compact that the one who speaks first shall shut the door. The
wife, tired of silence and growing sleepy, goes to bed; the husband
stretches himself on a bench. A gentleman’s servant, whose lantern
has been put out by the wind, seeing the door open, asks for a light.
There is no reply. Advancing a little way into the house, he finds the
man lying on the bench with his eyes open, but can get no word from
him though he shakes him. Looking round, he sees the woman in bed and
addresses her, but she is as dumb as her husband; he gets into the
bed. The woman says nothing till the intruder goes away; then calls
out, A pretty man you, to leave the door open all night and let people
get into your bed. Fool, he says, now go shut the door. The same, with
insignificant divergences, in L’Élite des Contes du Sieur d’Ouville,
Rouen, 1699, I, 159.
A wedding-feast over, neither bridegroom nor bride will consent to
shut the street-door; the lady proposes that the one who speaks
first shall do this, to which the bridegroom agrees. They sit looking
at each other in silence for two hours. Thieves, seeing the door
open, come in, pillage the house, and even strip the young pair of
everything valuable that they have on them, but neither says a word.
In the morning a patrol of police find the house door open, enter,
and make an inspection. The chief demands an explanation of the state
of things; neither man nor woman vouchsafes a response, and he orders
their heads off. The executioner is beginning with the husband; the
wife cries out, Spare him! the husband exclaims, You have lost,
go shut the door. (The Arabian tale of Sulayman Bey and the Three
Story-Tellers, cited by Clouston, Popular Tales and Fictions, II, 29.)
Hemp-eaters, who have found a sequin and bought a mass of food,
quarrel about fastening the gate of a tomb to which they have retired,
to gorge unmolested. They come to an agreement that the man who first
speaks shall close the gate. They let the victuals stand and sit mute.
A troop of dogs rush in and eat all up clean. One of the party had
secured some of the provender in advance of the rest, and bits are
sticking to his mouth. A dog licks them away, and in so doing bites
the lip of the fellow, who, in his pain, raps out a curse on the dog.
The rest shout, Get up and shut the gate! (Turkish, Behrnauer, Die
vierzig Veziere, p. 175 f.; Gibb, The History of the Forty Vezirs, p.
171 f.)
In the second Pickelheringsspiel, in the first part of Engelische
Comedien und Tragedien, 1620, a married pair contend again about the
shutting of a door. (R. Köhler; not seen by me.)
In other cases, speaking first entails a penalty different from
shutting a door.
A young pair, lying in bed the first night after marriage, engage
that whichever of the two gets up first or speaks first shall wash
the dishes for a week. The husband, pretending to make his will by
the process of expressing by signs his acceptance or rejection of
the suggestions of a friend, bequeaths away from his wife a handsome
article of dress belonging to her. The wife utters a protest, and has
to wash the dishes. (Novelle di Sercambi, ed. d’Ancona, p. 16, No 3,
‘De simplicitate viri et uxoris.’)
A man complains of dry bread which his wife has given him for his
supper. She tells him to get up and moisten it; he bids her do this,
but she refuses. It is finally settled that the one that speaks
first shall moisten the bread. A visitor comes in and can make
neither of them say a word. He kisses the wife, gives the husband a
blow on the cheek; no word from either. He makes complaint to the
kází; the husband will say nothing when brought before the kází,
and is condemned to be hanged. At the moment of execution the wife
ejaculates, Alas, my unfortunate husband! You devil, says he, go
home and moisten the bread! (An Arabian story in Beloe’s Oriental
Apologues, cited by Clouston, II, 21.)
A shoemaker and his wife agree that the one who speaks first shall
carry back a frying-pan that they have borrowed. A soldier who
requires a girth for his horse asks the shoemaker to cut him one,
but gets no answer, though he threatens to take off the man’s head.
Enraged at last, he seizes the shoemaker by the head to do what he
had menaced, when the wife cries out, For mercy’s sake, don’t! Well
done! says the husband, now carry back the pan. (Bernoni, Fiabe pop.
veneziane, p. 67, No 13, ‘La Scomessa;’ Crane, Italian Popular Tales,
p. 284.)
John makes terms with his wife that which of the two eats first of a
soup which she has brought in, or speaks the first word, shall have
a beating. William, of whom the husband is jealous, comes to offer
his company to go to a fight which is to come off. Man and wife will
neither eat nor speak, and he thinks them possessed. He takes the
woman by the hand, and she goes with him. John cries out, Let my wife
be! She says, John, you have spoken and lost. (Ayrers Dramen, ed. von
Keller, III, 2006-08.)
A man who has been taunting his wife as a cackler is challenged by her
to a trial at silence. A tinker comes in asking for kettles to mend.
He can make neither of them open their mouth, and, as a last resource,
offers to kiss the woman. The husband cannot contain himself; the wife
says, You have lost! and remains mistress of the house, as she had
been before. (Farce d’un Chauldronnier, Viollet Le Duc, Ancien Théâtre
François, II, 109 ff.)[87]
* * * * *
A
=a.= Herd, The Ancient and Modern Scots Songs, 1769, p. 330. =b.=
[Pinkerton], Select Scotish Ballads, 1783, II, 150.
1
It fell about the Martinmas time,
And a gay time it was then,
When our goodwife got puddings to make,
And she’s boild them in the pan.
2
The wind sae cauld blew south and north,
And blew into the floor;
Quoth our goodman to our goodwife,
‘Gae out and bar the door.’
3
‘My hand is in my hussyfskap,
Goodman, as ye may see;
An it shoud nae be barrd this hundred year,
It’s no be barrd for me.’
4
They made a paction tween them twa,
They made it firm and sure,
That the first word whaeer shoud speak,
Shoud rise and bar the door.
5
Then by there came two gentlemen,
At twelve o clock at night,
And they could neither see house nor hall,
Nor coal nor candle-light.
6
‘Now whether is this a rich man’s house,
Or whether is it a poor?’
But neer a word wad ane o them speak,
For barring of the door.
7
And first they ate the white puddings,
And then they ate the black;
Tho muckle thought the goodwife to hersel,
Yet neer a word she spake.
8
Then said the one unto the other,
‘Here, man, tak ye my knife;
Do ye tak aff the auld man’s beard,
And I’ll kiss the goodwife.’
9
‘But there’s nae water in the house,
And what shall we do than?’
‘What ails ye at the pudding-broo,
That boils into the pan?’
10
O up then started our goodman,
An angry man was he:
‘Will ye kiss my wife before my een,
And scad me wi pudding-bree?’
11
Then up and started our goodwife,
Gied three skips on the floor:
‘Goodman, you’ve spoken the foremost word,
Get up and bar the door.’
B
Macmath MS. p. 74. “From the singing of Miss Jane Webster, 15th
October, 1886, and 26th August, 1887, who learned it at Airds of
Kells, Kirkcudbrightshire, many years ago, from James McJannet.”
1
There leeved a wee man at the fit o yon hill,
John Blunt it was his name, O
And he selld liquor and ale o the best,
And bears a wondrous fame. O
Tal lara ta lilt, tal lare a lilt,
Tal lara ta lilt, tal lara
2
The wind it blew frae north to south,
It blew into the floor;
Says auld John Blunt to Janet the wife,
Ye maun rise up and bar the door.
3
‘My hans are in my husseyskep,
I canna weel get them free,
And if ye dinna bar it yersel
It’ll never be barred by me.’
4
They made it up atween them twa,
They made it unco sure,
That the ane that spoke the foremost word
Was to rise and bar the door.
5
There was twa travellers travelling late,
Was travelling cross the muir,
And they cam unto wee John Blunt’s,
Just by the light o the door.
6
‘O whether is this a rich man’s house,
Or whether is it a puir?’
But never a word would the auld bodies speak,
For the barring o the door.
7
First they bad good een to them,
And syne they bad good morrow;
But never a word would the auld bodies speak,
For the barring o the door, O.
8
First they ate the white puddin,
And syne they ate the black,
And aye the auld wife said to hersel,
May the deil slip down wi that!
9
And next they drank o the liquor sae strong,
And syne they drank o the yill:
‘And since we hae got a house o our ain
I’m sure we may tak our fill.’
10
It’s says the ane unto the ither,
Here, man, tak ye my knife,
An ye’ll scrape aff the auld man’s beard,
While I kiss the gudewife.
11
‘Ye hae eaten my meat, ye hae drucken my drink,
Ye’d make my auld wife a whore!’
‘John Blunt, ye hae spoken the foremost word,
Ye maun rise up and bar the door.’
C
Johnson’s Museum, IV, 376, No 365, 1792. Contributed by Robert Burns.
1
There livd a man in yonder glen,
And John Blunt was his name; O
He maks gude maut and he brews gude ale,
And he bears a wondrous fame. O
2
The wind blew in the hallan ae night,
Fu snell out oer the moor;
‘Rise up, rise up, auld Luckie,’ he says,
‘Rise up, and bar the door.’
3
They made a paction tween them twa,
They made it firm and sure,
Whaeer sud speak the foremost word
Should rise and bar the door.
4
Three travellers that had tint their gate,
As thro the hills they foor,
They airted by the line o light
Fu straught to Johnie Blunt’s door.
5
They haurld auld Luckie out o her bed
And laid her on the floor,
But never a word auld Luckie wad say,
For barrin o the door.
6
‘Ye’ve eaten my bread, ye hae druken my ale,
And ye’ll mak my auld wife a whore!’
‘A ha, Johnie Blunt! ye hae spoke the first word,
Get up and bar the door.’
* * * * *
=A. a.=
_Johnson’s Museum has these variations_:
2^4. Gat up and.
4^3. first who should speak the foremost word.
=b.=
1^3. That our gudewife had.
1^4. she boild.
2^1. wind blew cauld frae east.
2^4. Get up and.
3^3. hunder.
3^4. Its neer be barrd by.
4^2. word whaever spak.
5^1. come.
5^3. Whan they can see na ither house.
5^4. And at the door they light.
7^2. And syne.
7^3. Tho _wanting_.
8^1. Then ane unto the ither said.
9^3. bree.
11^1. O up then started.
11^3. you have spak the first word.
O _is added to the second and fourth lines for singing, in both of
the Museum copies and in_ =B=.
FOOTNOTES:
[87] All the above have been cited by Reinhold Köhler, Jahrbuch für
romanische u. englische Literatur, XII, 348 f., or by Clouston, Popular
Tales and Fictions, II, 15 ff.
276
THE FRIAR IN THE WELL
=A. a.= ‘The Fryer well fitted,’ etc., Rawlinson Ballads, 566, fol.
63, 4°. =b.= ‘The Fryer well fitted,’ etc., Roxburghe Ballads, II,
172; Ebsworth, Roxburghe Ballads, VII, 222. =c.= ‘The Fryer and the
Maid,’ Wit and Mirth, or, Pills to purge Melancholy, “I, 340, 1707,”
III, 325, 1719.
=B. a.= ‘The Friar and Fair Maid,’ Buchan’s MSS, II, 351. =b.= ‘The
Friar,’ Kinloch MSS, VI, 97. =c.= Kinloch MSS, V, 60.
The broadside, =A a=, =b=, is found in many other collections: Pepys,
III, 145, No 143; Crawford, No 94, etc. (see Ebsworth). =B=, the
Scottish ballad (an improvement on the English), is without doubt
derived from print, but not directly from =A a=, =b=. In =B= the maid
feigns to be afraid of her master, as in =A c=, not of her father.
From Halliwell’s Notices of Fugitive Tracts, p. 37, No 49, Percy
Society, vol. xxix, we learn that The Royal Garland of Protestant
Delight, London, 1689, has a ballad with the title ‘The witty lass of
Somersetshire, or the fryer servd in his kind,’ with an “answer,” in
the last stanza of which ‘the inn-keeper, her master,’ laughs at the
fryer’s disaster.
The tune of ‘The Friar in the Well’ occurs in The Dancing Master,
from 1650 to 1686: Chappell’s Popular Music, p. 274. Munday, in his
‘Downfall of Robert, Earl of Huntington,’ Act iv, Scene 2, 1598,
refers to the ‘merry jest ... how the friar fell into the well, for
love of Jenny, that fair bonny belle.’ A reference of Skelton’s in his
Colyn Cloute[88] carries the story, and almost certainly the ballad,
back to the first quarter of the sixteenth century.
The copy in Kinloch’s Ballad Book, p. 25, was compounded by the editor
from =B b=, =c=.
A maid, solicited by a friar, says that she fears hell-fire; the
friar reminds her that if she were in hell he could sing her out. She
stipulates for money in advance; while the friar is gone to fetch
some, she hangs (spreads) a cloth before (over) a well. The money in
band, she calls out that her father (master) is coming; the friar runs
to hide behind the cloth (a screen), and falls into the well. The
friar cries for help; he is left to sing himself out. Extricated after
a sufficient cooling, he asks his money back, but is told that he must
pay for fouling the water.
This story, one might safely say, is not beyond the “imaginary forces”
of any Western people, but an open well inside of an English house is
at least of unusual occurrence, and if we find something of the kind
to our hand in an Eastern tale of similar character, a borrowing seems
more plausible than an invention. There is a considerable class of
tales, mostly Oriental, in which a chaste wife discomfits two or three
would-be seducers, bringing them to shame and ridicule in the end. In
some, she exacts or receives money from her suitors at the outset;
in some, an allegation that her husband is coming is the pretext for
her concealing them. An example in English is ‘The Wright’s Chaste
Wife,’ by Adam of Cobsam, edited for the Early English Text Society,
in 1865, by Dr Furnivall. In this, three men successively are tumbled
through a trap door into an underground room. But in the Persian Tútí
Náma, or Book of the Parrot, of Nakhshabí, the wife lays a bed over a
dry well, her suitors are invited to sit on it, and they fall in; and
here, it is not extravagant to suppose, we may have the remote source
of the trick in our ballad.[89]
There is a French ballad of the same general type: ‘Le lourdaud
moine,’ Tarbé, Romancero de Champagne, II, 135; ‘Le moine Nicolas,’
Bujeaud, II, 284. A monk, enamored of a married woman, is appointed
to come to her while her husband is away; he is told to lay off his
frock, which she secures, and she takes money which he has brought.
He is then sent to the door to see if the husband be coming, and is
locked out. He asks to have his frock and money returned; she will
keep them for her husband. The convent jeer at him when he comes back:
‘Dieu bénisse la commère qui t’a joué ce tour-là!’
‘Munken i Vaande,’ a rather flat Danish ballad from a MS. of the 16th
century, tells of a monk who knocks at the door of a woman whom he
has been courting, and calls to her to keep her word; she tells her
husband to slip under the bed, and lets the monk in; the monk hands
the woman gold rings which he had promised; the goodman comes out and
gives him a beating; the monk leaps out of the window and goes to his
cloister; his superior asks why he has been away; he has been shriving
the farmer’s wife, and it has nearly cost him his life.
* * * * *
A
=a.= Rawlinson, 566, fol. 63, 4^o. =b.= Roxburghe, II, 172;
Ebsworth, Roxburghe Ballads, VII, 222. =c.= D’Urfey’s Pills to purge
Melancholy, ed. 1719, III, 325.
1
As I lay musing all alone,
fa, la, la, la, la
A pretty jeast I thought upon;
fa, la, la, la, la
Then listen a while, and I will you tell
Of a fryer that loved a bonny lass well.
fa, la, la, la, la
fa, la, la, lang-tre-down-dilly
2
He came to the maid when she went to bed,
Desiring to have her maidenhead,
But she denyëd his desire,
And told him that she feard hell-fire.
3
‘Tush,’ quoth the fryer, ‘thou needst not doubt
If thou wert in hell I could sing thee out:’
‘Then,’ quoth the maid, ‘thou shalt have thy request;’
The fryer was glad as a fox in his nest.
4
‘But one thing,’ quoth she, ‘I do desire,
Before you have what you require;
Before that you shall do the thing,
An angel of mony thou shalt me bring.’
5
‘Tush,’ quoth the fryer, ‘we shall agree,
No mony shall part my love and me;
Before that I will see thee lack,
I’le pawn the grey gown from my back.’
6
The maid bethought her of a wile
How she the fryer might beguile;
While he was gone, the truth to tell,
She hung a cloth before the well.
7
The fryer came, as his covenant was,
With money to his bonny lass;
‘Good morrow, fair maid!’ ‘Good morrow!’ quoth she.
‘Here is the mony I promised thee.’
8
She thankt the man, and she took his mony:
‘Now let us go to ’t,’ quoth he, ‘sweet hony:’
‘O stay,’ quoth she, ‘some respite make,
My father comes, he will me take.’
9
‘Alas!’ quoth the fryer, ‘where shall I run,
To hide me till that he be gone?’
‘Behinde the cloath run thou,’ quoth she,
‘And there my father cannot thee see.’
10
Behind the cloath the fryer crept,
And into the well on the sudden he leapt;
‘Alas,’ quoth he, ‘I am in the well!’
‘No matter,’ quoth she,’ if thou wert in hell.
11
‘Thou sayst thou couldst sing me out of hell,
Now prithee sing thy self out of the well:’
The fryer sung with a pittiful sound,
Oh help me out, or I shall be dround!
12
‘I trow,’ quoth she, ‘your courage is coold.’
Quoth the fryer, I was never so foold,
I never was served so before.
‘Then take heed,’ quoth she, ‘thou comst there no more.’
13
Quoth he, For sweet Saint Francis sake
On his disciple some pitty take:
Quoth she, Saint Francis never taught
His scholars to tempt young maids to naught.
14
The fryer did entreat her still
That she should help him out of the well;
She heard him make such pittious moan
She helpd him out, and bid him be gone.
15
Quoth he, Shall I have my mony again,
Which thou from me hast beforehand tane?
‘Good sir,’ said she, ‘there’s no such matter;
I’le make you pay for fouling my water.’
16
The fryer went all along the street,
Droping wet, like a new-washd sheep;
Both old and young commended the maid
That such a witty prank had plaid.
B
=a.= Buchan’s MSS, II 351. =b.= Kinloch MSS, VI, 97, in Kinloch’s
handwriting. =c.= Kinloch MSS, V, 60, in the handwriting of James
Beattie.
1
O hearken and hear, and I will you tell
Sing, Faldidae, faldidadi
Of a friar that loved a fair maiden well.
Sing, Faldi dadi di di (_bis_)
2
The friar he came to this maiden’s bedside,
And asking for her maidenhead.
3
‘O I would grant you your desire,
If ’t werena for fear o hell’s burning fire.’
4
‘O hell’s burning fire ye need have no doubt;
Altho you were in, I could whistle you out.’
5
‘O if I grant to you this thing,
Some money you unto me must bring.’
6
He brought her the money, and did it down tell;
She had a white cloth spread over the well.
7
Then the fair maid cried out that her master was come;
‘O,’ said the friar, ‘then where shall I run?’
8
‘O ye will go in behind yon screen,
And then by my master ye winna be seen.’
9
Then in behind the screen she him sent,
But he fell into the well by accident.
10
Then the friar cried out with a piteous moan,
O help! O help me! or else I am gone.
11
‘Ye said ye wad whistle me out o hell;
Now whistle your ain sel out o the well.’
12
She helped him out and bade him be gone;
The friar he asked his money again.
13
‘As for your money, there is no much matter
To make you pay more for jumbling our water.’
14
Then all who hear it commend this fair maid
For the nimble trick to the friar she played.
15
The friar he walked on the street,
And shaking his lugs like a well-washen sheep.
* * * * *
=A.= =a=, =b=.
The Fryer well fitted, or,
A pretty jest that once befell,
How a Maid put a Fryer to cool in the well.
To a merry tune.
=a.= London. Printed for F. Coles, T. Vere, and J. Wright.
=b.= Printed for W. Thackeray and T. Passinger.
=a.=
3^{1,3}, 7^3, 8^2, 3, 9^{1,3}, 10^4, 12^4, qd. _for_ quoth.
7^3. qd. he.
8^2. too’t.
8^3. Oh.
10^1. did crept.
16^2. Drooping.
=b.=
5^4. my grey.
7^3. quoth she.
10^1. fryer crept.
10^2. on a.
11^3. sung on.
12^2. never was.
14^2. she would.
15^2. Which from me thou.
16^2. Dropping.
=c.= _The variations are insignificant until we come to 8^3; from that
point this copy (which is abridged) runs as follows_:
8^3.
‘Nay, stay a while, some respite make;
If my master should come he would us take.
9
‘Alas,’ quoth the maid, ‘my master doth come!’
‘Alas!’ quoth the fryer, ‘where shall I run?’
‘Behind yon cloth run thou,’ quoth she,
‘For there my master cannot see.’
10.
Behind the cloth the fryer went,
And was in the well incontinent.
‘Alas,’ quoth he, ‘I’m in the well!’
‘No matter,’ quoth she, ‘if thou wert in hell.
11^{1,2}.
‘Thou saidst thou could sing me out of hell,
I prithee sing thy self out of the well.
Sing out,’ quoth she, ‘with all thy might,
Or else thou’rt like to sing there all night.’
11^{3,4}.
The fryer sang out with a pitiful sound,
Oh help me out, or I shall be drownd!
14^{3,4}.
She heard him make such pitiful moan
She hope [=holp] him out and bid him go home.
12^{3,4}.
Quoth the fryer, I never was servd so before:
‘Away,’ quoth the wench, ‘come here no more.’
16^{1,2}.
The fryer he walkd along the street
As if he had been a new-washd sheep.
Sing, hey down a derry, and let’s be merry,
And from such sin ever keep.
_The_ fa la _burden is not given_.
=B. b.= _Apparently_ =a= _revised by Kinloch_.
4^2. sing _for_ whistle.
7^2. then _wanting_.
10^1. a _wanting_.
15^2. sheet _for_ sheep.
=c.=
1.
Listen and I will you tell
Wi a falaldirry, falaldirry
How a friar in love wi a lassie fell.
Wi a falee and latee and a lee-tiddle-tiddle-tee
7.
The lassie cries, My master comes!
The friar cries, Where shall I run?
8.
‘O you’ll do you in below this cloth;
That you be seen I wad be loth.’
10.
The friar cries, I’m in the well!
‘I care na tho you were in hell.
11.
‘You said you w[a]d sing me out of hell;
Sing yoursell out o the well.’
12.
‘If you’ll help me out, I will be gone,
Back to you I’ll neuer come.’
She helped him out, and he was begone;
Back to her he never came.
15.
The frier he gaed up the street,
Hanging his lugs like a washen sheet.
2-6, 9, 13, 14, _wanting_.
FOOTNOTES:
[88]
But when the freare fell in the well He coud not syng himselfe therout
But by the helpe of Christyan Clout.
(vv. 879-91.)
[89] For the class of tales referred to, see von der Hagen,
Gesammtabenteuer, III, XXXV f., LXXXIII f.; Reinhold Köhler, in
Jahrbuch für romanische und englische Literatur, VIII, 44-65; Clouston,
Popular Tales and Fictions, II, 289-310.
277
THE WIFE WRAPT IN WETHER’S SKIN
=A. a.= ‘Sweet Robin,’ Jamieson’s Popular Ballads, I, 319. =b.=
Macmath MS., p. 100, three stanzas.
=B.= ‘Robin he’s gane to the wude,’ Harris MS., fol. 26 =b.=
=C.= ‘The Cooper of Fife,’ Whitelaw, The Book of Scottish Song, p.
333.
=D.= Jamieson-Brown MS., Appendix, p. iii.
=E.= Jamieson’s Popular Ballads, I, 324.
Jamieson cites the first two stanzas of =A a= in a letter of inquiry
to The Scots Magazine, October, 1803, p. 700, and the first half of
=D= (with alterations) in his preface, Popular Ballads, I, 320. The
ballad, he says, is very popular all over Scotland.
Robin has married a wife of too high kin to bake or brew, wash or
wring. He strips off a wether’s skin and lays it on her back, or prins
her in it. He dares not beat her, for her proud kin, but he may beat
the wether’s skin, and does. This makes an ill wife good.
A fragment in Herd’s MSS, I, 105, II, 161, belongs, if not to this
ballad, at least to one in which an attempt is made to tame a shrew by
castigation.
‘Now tak a cud in ilka hand
And bace[90] her up and doun, man,
And she’ll be an o the best wives
That ever took the town, man.’
* * * * *
And Jammie’s turnd him round about,
He’s done a manly feat:
‘Get up, get up, ye dirty slut,
And gie to me my meat.’
* * * * *
‘Say’t oer again, say’t oer again,
Ye thief, that I may hear ye;
I’se gar ye dance upon a peat,
Gin I sall cum but near ye.’
The story of the ballad was in all likelihood traditionally derived
from the good old tale of the wife lapped in Morrel’s skin.[91] Here a
husband, who has put up with a great deal from an excessively restive
wife, flays his old horse Morrell and salts the hide, takes the shrew
down cellar, and, after a sharp contest for mastery, beats her with
birchen rods till she swoons, then wraps her in the salted hide: by
which process the woman is perfectly reformed.[92]
A
Jamieson’s Popular Ballads, I, 319. “From the recitation of a friend
of the editor’s in Morayshire.”
1
She wadna bake, she wadna brew,
Hollin, green hollin
For spoiling o her comely hue.
Bend your bow, Robin
2
She wadna wash, she wadna wring,
For spoiling o her gay goud ring.
3
Robin he’s gane to the fald
And catched a weather by the spauld.
4
And he has killed his weather black
And laid the skin upon her back.
5
‘I darena pay you, for your kin,
But I can pay my weather’s skin.
6
‘I darena pay my lady’s back,
But I can pay my weather black.’
7
‘O Robin, Robin, lat me be,
And I’ll a good wife be to thee.
8
‘It’s I will wash, and I will wring,
And never mind my gay goud ring.
9
‘It’s I will bake, and I will brew,
And never mind my comely hue.
10
‘And gin ye thinkna that eneugh,
I’se tak the goad and I’se ca the pleugh.
11
‘Gin ye ca for mair whan that is doon,
I’ll sit i the neuk and I’ll dight your shoon.’
B
Harris MS., fol. 26 b, No 25, from Miss Harris.
1
Robin he’s gane to the wast,
Hollin, green hollin
He’s waled a wife amang the warst.
Bend your bows, Robin
2
She could neither bake nor brew,
For spoilin o her bonnie hue.
3
She could neither spin nor caird,
But fill the cup, an sair the laird.
4
She could neither wash nor wring,
For spoilin o her gay goud ring.
5
Robin’s sworn by the rude
That he wald mak an ill wife gude.
6
Robin he’s gaun to the fauld,
An taen his blaik [wither] by the spauld.
7
He’s taen aff his wither’s skin
An he has preened his ain wife in.
8
‘I daurna beat my wife, for a’ her kin,
But I may beat my wither’s skin.’
9
‘I can baith bake an brew;
What care I for my bonnie hue?
10
‘I can baith wash an wring;
What care I for my gay gowd ring?
11
‘I can baith spin an caird;
Lat onybodie sair the laird.’
12
Robin’s sworn by the rude
That he has made an ill wife gude.
C
Whitelaw’s Book of Scottish Song, p. 333.
1
There was a wee cooper who lived in Fife,
Nickity, nackity, noo, noo, noo
And he has gotten a gentle wife.
Hey Willie Wallacky, how John Dougall,
Alane, quo Rushety, roue, roue, roue
2
She wadna bake, nor she wadna brew,
For the spoiling o her comely hue.
3
She wadna card, nor she wadna spin,
For the shaming o her gentle kin.
4
She wadna wash, nor she wadna wring,
For the spoiling o her gouden ring.
5
The cooper’s awa to his woo-pack
And has laid a sheep-skin on his wife’s back.
6
‘It’s I’ll no thrash ye, for your proud kin,
But I will thrash my ain sheep-skin.’
7
‘Oh, I will bake, and I will brew,
And never mair think on my comely hue.
8
‘Oh, I will card, and I will spin,
And never mair think on my gentle kin.
9
‘Oh, I will wash, and I will wring,
And never mair think on my gouden ring.’
10
A’ ye wha hae gotten a gentle wife
Send ye for the wee cooper o Fife.
D
Jamieson-Brown MS., Appendix, p. iii, letter of R. Scott to Jamieson,
June 9, 1805.
1
There livd a laird down into Fife,
Riftly, raftly, now, now, now
An he has married a bonny young wife.
Hey Jock Simpleton, Jenny[’s] white petticoat,
Robin a Rashes, now, now, now
2
He courted her and he brought her hame,
An thought she would prove a thrifty dame.
3
She could neither spin nor caird,
But sit in her chair and dawt the laird.
4
She wadna bake and she wadna brew,
An a’ was for spoiling her delicate hue.
5
She wadna wash nor wad she wring,
For spoiling o her gay goud ring.
6
But he has taen him to his sheep-fauld,
An taen the best weather by the spauld.
7
Aff o the weather he took the skin,
An rowt his bonny lady in.
8
‘I dare na thump you, for your proud kin,
But well sall I lay to my ain weather’s skin.’
* * * * *
E
Jamieson’s Popular Ballads, I, 324.
1
There lives a landart laird in Fife,
And he has married a dandily wife.
2
She wadna shape, nor yet wad she sew,
But sit wi her cummers and fill hersell fu.
3
She wadna spin, nor yet wad she card,
But she wad sit and crack wi the laird.
4
He is down to his sheep-fald
And cleckit a weather by the back-spald.
5
He’s whirpled aff the gude weather’s-skin
And wrappit the dandily lady therein.
6
‘I darena pay you, for your gentle kin,
But weel I may skelp my weather’s-skin.’
* * * * *
=A.=
=a.= _The refrain, altered by Jamieson, has been restored from his
preface. Five stanzas added by him at the end have been dropped._
=b.= From the recitation of Miss Agnes Macmath, 29th April, 1893;
learned by her from her mother, who had it from _her_ mother, Janet
Spark, Kirkcudbrightshire.
2.
She could na wash and she could na wring,
Hey, Wullie Wyliecot, noo, noo, noo
For the spoiling o her gay gold ring.
Wi my Hey, Wullie Wyliecot, tangie dooble,
That robes in the rassiecot, noo, noo, noo
(_Refrain perhaps corrupt._)
3.
He’s gane oot unto the fauld,
He’s catched a wather by the spaul.
5.
‘I darena thrash ye, for yer kin,
But I may thrash my ain wather-skin.’
FOOTNOTES:
[90] _Bace_ in the second copy, rightly, that is, _bash_, beat; _bare_
in the first (probably mistranscribed).
[91] A merry jeste of a shrewde and curste wyfe lapped in Morrelles
skin for her good behauyour. Imprinted at London in Fleetestreete,
beneath the Conduite, at the signe of Saint John Euangelist, by H.
Jackson; without date, but earlier than 1575, since the book was in
Captain Cox’s library. Reprinted in Utterson’s Select Pieces of Early
Popular Poetry, 1825, II, 169; The Old Taming of the Shrew, edited by
T. Amyot for the Shakespeare Society, 1844, p. 53; W. C. Hazlitt’s
Early Popular Poetry, IV, 179.
[92] These passages are worth noting:
She can carde, she can spin, She can thresh and she can fan. (v. 419 f.)
In euery hand a rod he gate And layd vpon her a right good pace. (v.
955 f.)
Where art thou, wife? shall I haue any meate? (v. 839.)
(Compare Herd’s fragments with the last two, and with 903-10.)
278
THE FARMER’S CURST WIFE
=A.= ‘The Farmer’s Old Wife,’ Dixon, Ancient Poems, Ballads, and
Songs of the Peasantry of England, p. 210, Percy Society, vol. xvii.
The same in Bell, p. 204.
=B.= Macmath MS., p. 96.
The devil comes for a farmer’s wife and is made welcome to her by the
husband. The woman proves to be no more controllable in hell than she
had been at home; she kicks the imps about, and even brains a set
of them with her pattens or a maul. For safety’s sake, the devil is
constrained to take her back to her husband.
=B.= The ballad of ‘Kellyburnbraes,’ Johnson’s Museum, No 379, p.
392, was composed by Burns, as he has himself informed us, “from
the old traditional version.” “The original ballad, still preserved
by tradition,” says David Laing, “was much improved in passing
through Burns’s hands:” Museum, IV, *389, 1853. Cromek, Remains of
Nithsdale and Galloway Song, p. 83, 1810, gives us what he calls the
“Original of Burns’s Carle of Kelly-Burn Braes,” remarking, with some
effrontery, that there is reason to believe that Burns had not seen
the whole of the verses which constitute this copy. Allan Cunningham,
Songs of Scotland, II, 199, undertook “to make a more complete
version than has hitherto appeared” out of Burns, Cromek, and some
“fugitive copies.” So we get the original from none of them, but
are, rather, further from it at each step. Whether =B= has come down
pure, unaffected by Burns and Cromek, it is impossible to say. That
it shows resemblances to both copies is not against its genuineness,
if there was a fair leaven of the popular ballad in each of these
reconstructions; and it is probable that there would be, at least in
Burns’s.
A curst wife who was a terror to demons is a feature in a widely
spread and highly humorous tale, Oriental and European. See Benfey,
Pantschatantra, I, 519-34; and, for a variety which is, at the
beginning, quite close to our ballad, Ralston, Russian Folk-Tales, p.
39 (Afanasief, I, No 9).
* * * * *
Cromek’s ballad is translated by Wolff, Halle der Völker, I, 93,
Hausschatz, p. 230.
A
Dixon, Ancient Poems, Ballads, and Songs, p. 210, Percy Society, vol.
xvii.
1
There was an old farmer in Sussex did dwell,
(_Chorus of whistlers_)
There was an old farmer in Sussex did dwell,
And he had a bad wife, as many knew well.
(_Chorus of whistlers_)
2
Then Satan came to the old man at the plough:
‘One of your family I must have now.
3
‘It is not your eldest son that I crave,
But it is your old wife, and she I will have.’
4
‘O welcome, good Satan, with all my heart!
I hope you and she will never more part.’
5
Now Satan has got the old wife on his back,
And he lugged her along, like a pedlar’s pack.
6
He trudged away till they came to his hall-gate;
Says he, Here, take in an old Sussex chap’s mate.
7
O then she did kick the young imps about;
Says one to the other, Let’s try turn her out.
8
She spied thirteen imps all dancing in chains,
She up with her pattens and beat out their brains.
9
She knocked the old Satan against the wall:
‘Let’s turn her out, or she’ll murder us all.’
10
Now he’s bundled her up on his back amain,
And to her old husband he took her again.
11
‘I have been a tormentor the whole of my life,
But I neer was tormented so as with your wife.’
B
Macmath MS., p. 96. Taken down by Mr Macmath from the recitation of
his aunt, Miss Jane Webster, Crossmichael, Kirkcudbrightshire, August
27th, 1892; learned many years ago, at Airds of Kells, from the
singing of Samuel Galloway.
1
The auld Deil cam to the man at the pleugh,
Rumchy ae de aidie
Saying, I wish ye gude luck at the making o yer sheugh.
Mushy toorin an ant tan aira.
2
‘It’s neither your oxen nor you that I crave;
It’s that old scolding woman, it’s her I must have.’
3
‘Ye’re welcome to her wi a’ my gude heart;
I wish you and her it’s never may part.’
4
She jumped on to the auld Deil’s back,
And he carried her awa like a pedlar’s pack.
5
He carried her on till he cam to hell’s door,
He gaed her a kick till she landed in the floor.
6
She saw seven wee deils a sitting in a raw,
She took up a mell and she murdered them a’.
7
A wee reekit deil lookit owre the wa:
‘O tak her awa, or she’ll ruin us a’.’
8
‘O what to do wi her I canna weel tell;
She’s no fit for heaven, and she’ll no bide in hell.’
* * * * *
9
She jumpit on to the auld Deil’s back,
And he carried her back like a pedlar’s pack.
* * * * *
10
She was seven years gaun, and seven years comin,
And she cried for the sowens she left in the pot.
279
THE JOLLY BEGGAR
=A.= ‘Ther was a wife in yon toun,’ “Old Lady’s Collection,” No. 36.
=B.= =a.= ‘The Jolly Beggar,’ Herd, The Ancient and Modern Scots
Songs, 1769, p. 46; ed. 1776, II, 26. =b.= ‘The Jolly Beggars,’
Curious Tracts, Scotland, British Museum, 1078. m. 24. No 30 (a
collection made by James Mitchell at Aberdeen in 1828). =c.= ‘The
Jolly Beggar-Man,’ Macmath MS., p. 103, a fragment. =d.= The same, a
fragment.
I have not found this piece in any printed collection older than Herd,
1769, but it is cited in the second edition of Percy’s Reliques,
1767, II, 59 (preface to ‘The Gaberlunyie-Man’) and was known before
that to Horace Walpole, who, as Percy remarks, confounds it with ‘The
Gaberlunyie-Man,’ or gives it that title: Catalogue of Royal and Noble
Authors, II, 202 f., second edition, 1759 (not mentioned in the first
edition). It was probably in circulation as a flying-sheet.[93]
We are regularly informed by editors that tradition imputes the
authorship of both ‘The Jolly Beggar’ and ‘The Gaberlunyie-Man’ to
James Fifth of Scotland. ‘The Gaberlunyie-Man’ was, so far as can be
ascertained, first printed in the Tea-Table Miscellany (in 1724), and
I am not aware that it is mentioned anywhere before that date. Ramsay
speaks of it as an old piece, but says nothing about the authorship.
The tradition as to James Fifth is, perhaps, not much older than the
publication in either case, and has no more plausibility than it has
authority.
The copies in Pinkerton’s Select Scotish Ballads, II, 35, 1783,
Johnson’s Museum, p. 274, No 266, 1790, Ritson’s Scotish Songs, I,
168, 1794, etc., are all from Herd’s second edition, 1776. In this we
have, instead of the Fa la la burden, the following, presumably later
(see Herd’s MSS, I, 5):
And we’ll gang nae mair a roving,
Sae late into the night,
And we’ll gang nae mair a roving, boys,
Let the moon shine neer sae bright,
And we’ll gang nae mair a roving.
Motherwell’s MS., p. 124, has a recited copy which seems to be =B
a= as in Herd, 1776, corrupted by oral transmission. It does not
seriously differ from the original until we come to the end, where we
find an absurd stanza which is derived from =B b=.
The variations of =B b= are not the accidents of tradition, but
deliberate alterations. ‘The Jovial Beggarman,’ in The Forsaken
Lover’s Garland, No 15 of a collection of garlands, British Museum,
11621. e. 1 (“Newcastle? 1750?”), is a _rifacimento_, and a very
inferior piece. Of this Rev. S. Baring-Gould took down a copy from the
singing of a laborer on Dartmoor, in 1889.[94]
‘The Jovial Tinker and Farmer’s Daughter,’ British Museum, 1346.
m. 7 (31), ‘The Tinker and Farmer’s Daughter’s Garland,’ British
Museum, 11621. a. 6 (34), is another _rifacimento_, with less of the
original in it. The tinker, we are told at the outset, is a noble lord
disguised.
An English broadside ballad of the second half of the seventeenth
century, Pepys, III, 73, No 71, has the same story as the Scottish
popular ballad, and may have been the foundation of it, but the
Scottish ballad is a far superior piece of work. The English broadside
is given, substantially, in the notes.
‘Der Bettelman,’ Hoffmann u. Richter, Schlesische Volkslieder,
p. 45, No 24, has a generic resemblance to this ballad.[95] So,
more remotely, a Flemish ballad, ‘Ein schöner Krüppel,’ Hoffmann,
Niederländische Volkslieder, p. 129 and elsewhere. Again, a very
pretty and innocent Portuguese ballad, ‘O Cego,’ Almeida-Garrett, III,
191, No 35, Braga, Romanceiro Geral, p. 147, No 55, and Cantos pop.
do Archipelago Açoriano, p. 372, No 76 (all in Hartung, II, 103 ff.),
which Almeida-Garrett, quite extravagantly, supposed might be derived
from ‘The Gaberlunyie-Man,’ brought home from Scotland by Portuguese
sailors. There is an accidental similarity in one or two points with
the Spanish ballad ‘Tiempo es, el caballero,’ Duran, I, 163, No 307,
Primavera, II, 91, No 158.
‘The Gaberlunyie-Man’ is given in an appendix.
* * * * *
A
“Old Lady’s Collection,” No 36.
1
‘Ther is a wife in yone toun-end, an she has dothers three,
An I wad be a beager for ony of a’ the three.’
2
He touk his clouty clok him about, his peak-staff in his hand,
An he is awa to yon toun-end, leak ony peare man.
3
‘I ha ben about this fish-toun this years tua or three,
Ha ye ony quarters, deam, that ye coud gie me?’
4
‘Awa, ye pear carl, ye dinne kean my name;
Ye sudd ha caed me mistress fan ye called me bat deam.’
5
He tuke his hat in his hand an gied her juks three:
‘An ye want manners, misstres, quarters ye’ll gie me.’
6
‘Awa, ye pear carle, in ayont the fire,
An sing to our Lord Gray’s men to their hearts’ disire.’
7
Some lowked to his goudie lowks, some to his milk-whit skine,
Some to his ruffled shirt, the gued read gold hang in.
8
Out spak our madin, an she was ay shay,
Fatt will the jolly beager gett afore he gaa to lay?
9
Out spak our goudwife, an she was not sae shay,
He’se gett a dish of lang kell, besids a puss pay.
10
Out spak the jolly beager, That dish I dou denay;
I canne sup yer lang kell nor yet yer puss pay.
11
Bat ye gett to my supper a capon of the best,
Tuo or three bottels of yer wine, an bear,
an we sall ha a merry feast.
12
‘Ha ye ony siler, carll, to bint the bear an wine?’
‘O never a peney, misstress, had I lang sine.’
13
The beager wadne lay in the barn, nor yett in the bayr,
Bat in ahind the haa-dor, or att the kitchen-fire.
14
The beager’s bed was well [made] of gued clean stray an hay,
. . . . . . . . .
15
The madin she rose up to bar the dor,
An ther she spayed a naked man, was rinen throu the flour.
16
He tuke her in his arms an to his bed he ran;
‘Hollie we me, sir,’ she says, ‘or ye’ll waken our pear man.’
17
The begger was a cuning carle, an never a word he spake
Till he got his turn dean, an sayn began to crak.
18
‘Is ther ony dogs about this toun? madin, tell me nou:’
‘Fatt wad ye dee we them, my hony an my dou?’
19
‘They wad ravie a’ my meall-poks an die me mukell wrang:’
‘O doll for the deaing o it! are ye the pear man?
20
‘I thought ye had ben some gentelman, just leak the leard of Brody!
I am sorry for the doing o itt! are ye the pore boddie?’
21
She tuke the meall-poks by the strings an thrue them our the waa:
‘Doll gaa we meall-poks, madinhead an a’!’
22
She tuke him to her press, gave him a glass of wine;
He tuke her in his arms, says, Honey, ye’ss be mine.
23
He tuke a horn fra his side an he blue loud an shill,
An four-an-tuenty belted knights came att the beager’s will.
24
He tuke out a pean-kniff, lute a’ his dudes faa,
An he was the braest gentelman that was among them a’.
25
He patt his hand in his poket an gaa her ginnes three,
An four-an-tuenty hunder mark, to pay the nires feea.
26
‘Gin ye had ben a gued woman, as I thought ye had ben,
I wad haa made ye lady of castels eaght or nine.’
B
=a.= Herd, The Ancient and Modern Scots Songs, 1769, p. 46. =b.=
Curious Tracts, Scotland, British Museum, 1078, m. 24, No 30.
1
There was a jolly beggar, and a begging he was bound,
And he took up his quarters into a landart town.
Fa la la, etc.
2
He wad neither ly in barn, nor yet wad he in byre,
But in ahint the ha-door, or else afore the fire.
3
The beggar’s bed was made at een wi good clean straw and hay,
And in ahint the ha-door, and there the beggar lay.
4
Up raise the goodman’s dochter, and for to bar the door,
And there she saw the beggar standin i the floor.
5
He took the lassie in his arms and to the bed he ran,
‘O hooly, hooly wi me, sir! ye’ll waken our goodman.’
6
The beggar was a cunnin loon, and neer a word he spake
Until he got his turn done, syne he began to crack.
7
‘Is there ony dogs into this town? maiden, tell me true.’
‘And what wad ye do wi them, my hinny and my dow?’
8
‘They’ll rive a’ my mealpocks, and do me meikle wrang.’
‘O dool for the doing o’t! are ye the poor man?’
9
Then she took up the mealpocks and flang them oer the wa:
‘The d--l gae wi the mealpocks, my maidenhead and a’!
10
‘I took ye for some gentleman, at least the Laird of Brodie;
O dool for the doing o’t! are ye the poor bodie?’
11
He took the lassie in his arms and gae her kisses three,
And four-and-twenty hunder merk to pay the nurice-fee.
12
He took a horn frae his side and blew baith loud and shrill,
And four-and-twenty belted knights came skipping oer the hill.
13
And he took out his little knife, loot a’ his duddies fa,
And he was the brawest gentleman that was amang them a’.
14
The beggar was a cliver loon and he lap shoulder height:
‘O ay for sicken quarters as I gat yester-night!’
=A.=
6^2. disere.
9^2. puss _might be_ russ _here, but is unquestionable in the next
stanza_.
24^2. blaest _for_ braest. 26^2. ninge (nigne _may be what was
intended_).
=B. b.= _A slip with no imprint. Dated in the Museum catalogue 1800?_
1
There was a jolly beggar, and a begging he had been,
With his fal de diddle de dal dal
And he took up his quarters in a house in Aberdeen.
With his toran oran ad de odi
2
This beggar would not lye in barn nor yet would he in byre,
But he would lye into the ha, or beyond the kitchen-fire.
3
The beggar’s bed it was well made, with clean straw and hay,
And beyond the kitchen-fire, there the jolly beggar lay.
4
The lassie then she did get up to bar the kitchen-door,
An there she met the jolly beggar, standing naked on the floor.
5
He gript the lassie by the middle jimp, laid her against the wa,
‘O kind sir,’ she said, ‘be civil, for ye will wake my dadda.’
6
He never minded what she said, but carried on his stroke,
Till he got his job done, then he began to joke.
7
‘Have you got any dogs about the house, or any cats ava?
For I’m feared she’ll cut my mealpocks before I gang awa.’
8
The lassie took up the mealpocks, threw them against the wa,
‘O deil tak your mealpocks! my maidenhead’s awa.’
9
The lassie she got up again the hour before ’twas day,
For to gie the beggar hansel before he went away.
10
She went into the cellar, to draw a pot of ale,
The beggar followed after, and did the job again.
11
He laid her on the ringle-tree, and gave her kisses three,
And he gave her twenty guineas, to pay the nurse’s fee.
12
‘Had you been an honest lass, as I took you to be,
You might have rode in your carriage and gone along with me.’
13
The beggar he took a horn and blew it wondrous shrill;
There was four-and-twenty belted knights came riding oer the hill.
14
‘Now if you are afraid you should miscall your child,
You may call him for the daddy o’t, the great Duke of Argyle.’
1^1, jelly: _but_
3^2, 4^2, jolly.
3^1. hay and straw.
9^1. hours.
13^2. kinpa _for_ knights.
_There are many other misprints; some, perhaps, which are not
corrected, as_ she’ll cut, 7^2.
_The copy in Motherwell’s MS, p. 124, ends_:
He louted oure the saddle to her and gave her kisses three,
And he gave her fifty guineas, to pay the nourice-fee.
‘Oh had you been an honest maid, as I thocht ye wud hae been,
I would have made you lady of a’ the land,
and then the Scotish queen.’
=B. c.=
From the recitation of Miss Jane Webster, Crossmichael, August 8,
1893; learned by her many years ago from her mother, Janet Spark.
1
There was a jolly beggar, as mony a ane has been,
An he’s taen up his lodging in a house near Aberdeen.
Wi his yi yi yanti O, his eerie eerie an
Wi his fine tan taraira, the jolly beggar-man
2
He wadna lie in barn, nor he wadna lie in byre,
But he wad lie at the ha-door or the back o the kitchen-fire.
=B. d.=
From the recitation of the same, on the same occasion; learned in
youth at Airds of Kells, from the singing of Thomas Duffy, joiner,
Parton.
_Refrain_:
Wi his long staff, and ragged coat, and breeches to his knee,
And he was the bauldest beggar-man that eer my eyes did see.
=a.=
4
Up rose the farmer’s daughter, for to bar the door,
There she beheld a naked man, was standing on the floor.
* * * * *
7
‘Hae ye ony cats or dogs, or hae ye eer a grew?
I’m feared they rive my meal-pokes, when I am kissing you.’
9
She’s taen up his meal-pokes an thrown them owre the wa:
‘O the deil gang wi your meal-pokes! for my maidenhead’s awa.’
* * * * *
‘It’s fare ye weel, gudewife, an it’s fare ye weel, gudeman,
Ye hae a gude fat doughter, an I rattled on her pan.
=b.=
12
‘If she had been an honest lass, as I took her to be,
She micht hae ridden in her coach-an-four this day along wi me.’
=a.=
12
Then he took oot a whistle, an he’s blawn baith loud and shrill,
There was four-an-twenty foresters cam at their master’s will.
13
Then he took oot a wee pen-knife, an let his duddies fa,
And he was the brawest gentleman that was amang them a’.
The English broadside, Pepys Ballads, III, 73, No 71.
THE POLLITICK BEGGER-MAN.
Who got the love of a pretty maid
And on her cittern sweetly plaid;
At last she slung her milk-pail over the wall,
And bid the De’l take milk-pail, maidenhead and all.
Tune is, There was a jovial begger.[96]
Printed for F. Coles, T. Vere, J. Wright, and J. Clarke.
1
There was a jovial begger-man,
a begging he was bound,
And he did seek his living
in country and in town.
With a long staff and a patcht coat,
he prancd along the pad,
And by report of many a one
he was a proper lad.
His cheeks were like the crimson rose,
his forehead smooth and high,
And he was the bravest begger-man
that ever I saw with eye.
2
He came unto a farmer’s gate
and for an alms did crave;
The maid did like the begger-man
and good relief she gave.
She took him by the lilly hand
and set him to the fire,
Which was as well as tongue could tell
Or heart of man desire.
3
A curious mess of firmaty
for him she did provide,
With a lovely cup of nut-brown
and sugar sops beside.
. . . . . . . .
. . . . . . .
. . . . . . .
. . . . . . .
4
‘Sweet-heart, give me some lodging,
that I all night may stay,
Or else give me my answer,
that I may go away.’
The maid went to the hay-mow
and fetcht a bottle of hay,
And laid it behind the parlor-door,
On which the begger-man lay.
5
‘Resolve me,’ said the maiden,
‘if that you will or can,
For I do verily believe
thou art a gentleman.’
‘In truth then,’ said the begger,
‘my parents they are poor,
And I do seek my living
each day from door to door.’
6
‘’Tis pity,’ said this maiden fair,
‘that such a lively lad
Should be a begger’s only heir,
a fortune poor and bad.
I wish that my condition
were of the same degree,
Then hand in hand I’de quickly wend
throughout the world with thee.’
7
When he perceivd the maiden’s mind,
and that her heart was his,
He did embrace her in his arms
And sweetly did her kiss.
. . . . . .
. . . . . .
. . . . . .
. . . . . .
8
In lovely sport and merriment
the night away they spent
In Venus game, for their delight
and both their hearts content:
. . . . . .
. . . . . .
. . . . . .
. . . . . .
9
Betimes in the morning then,
as soon as it was day,
He left the damosel fast asleep
and nimbly budgd away.
When he from her an hour was gone
the damosel she did wake,
And seeing the begger-man not there
her heart began to ake.
10
Then did she sigh and wring her hands,
the tears did trickling pour,
For loosing her virginity
and virgins maiden flower.
When twenty weeks were come and gone
her heart was something sad,
Because she found herself with barn,
and does not know the dad.
11
‘There is, I see, no remedy
for what is past and gone,
And many a one that laughs at me
may do as I have done.’
Then did she take her milk-pail,
and flung it over the wall:
‘O the Devil go with my milk-pail,
my maidenhead and all!’
12
You maidens fair, where ere you are,
Keep up your store and goods,
For when that some have got their wills
They’l leave you in the suds.
Let no man tempt you nor entice,
be not too fond and coy,
But soon agree to loyalty,
Your freedom to enjoy.
4^4. go that way.
APPENDIX
THE GABERLUNYIE-MAN
Printed in the first volume of Ramsay’s Tea-Table Miscellany, 1724,
from which it was repeated in Thomson’s Orpheus Caledonius, 1725, fol.
43, and Old Ballads, III, 259, the same year; in the Dublin reprint of
the Miscellany, 1729, I, 96, the “fifth edition,” London, 1730, and
the ninth edition, London, 1733, I. 84. The first edition, 1724, being
of extreme rarity, if anywhere now to be found, the piece is given
here from Old Ballads, which agrees with Orpheus Caledonius except as
to the spelling of a single word.
The Gaberlunyie-Man is one of the pieces which were subjected to
revision in the Miscellany; “such old verses as have been done
time out of mind, and only wanted to be cleared from the dross of
blundering transcribers and printers, such as ‘The Gaberlunzie-man,’
‘Muirland Willy,’” etc. (Ramsay’s preface.)
In recited copies, as the “Old Lady’s Collection,” No 13 (Skene MS.,
p. 65), and Motherwell’s MS., p. 31, the girl is made to come back
again to see her mother (or the gaberlunyie-man brings her) ‘wi a
bairn in her arms and ane in her wame;’ but for all that a fine lady,
‘wi men- and maid-servants at her command.’
* * * * *
Translated by Herder, II, 264; Bodmer, I, 68; Fiedler, p. 23;
Loeve-Veimars, p. 356.
1
The pauky auld carle came oer the lee,
Wi many good eens and days to me,
Saying, Goodwife, for your courtesie,
Will ye lodge a silly poor man?
The night was cauld, the carle was wat,
And down ayont the ingle he sat;
My daughter’s shoulders he gan to clap,
And cadgily ranted and sang.
2
‘O wow!’ quo he, ‘were I as free
As first when I saw this country,
How blyth and merry wad I be!
And I wad never think lang.’
He grew canty, and she grew fain,
But little did her auld minny ken
What thir slee twa togither were sayn,
When wooing they were sa[e] thrang.
3
‘And O!’ quo he, ‘ann ye were as black,
As eer the crown of your dady’s hat,
’Tis I wad lay thee by my back,
And awa wi me thou shoud gang.’
‘And O!’ quoth she, ‘ann I were as white
As eer the snaw lay on the dike,
I’d clead me braw, and lady-like,
And awa with thee I’d gang.’
4
Between the twa was made a plot;
They raise a wee before the cock,
And wyliely they shot the lock,
And fast to the bent are they gane.
Up the morn the auld wife raise,
And at her leasure pat on her claiths;
Syne to the servants bed she gaes,
To speer for the silly poor man.
5
She gaed to the bed where the beggar lay,
The strae was cauld, he was away;
She clapt her hands, cry’d, Waladay!
For some of our gear will be gane.
Some ran to coffers, and some to kists,
But nought was stown that coud be mist;
She danc’d her lane, cry’d, Praise be blest,
I have lodg’d a leal poor man!
6
‘Since nathing’s awa, as we can learn,
The kirn’s to kirn and milk to earn;
Gae butt the house, lass, and waken my bairn,
And bid her come quickly ben.’
The servant gade where the daughter lay,
The sheets was cauld, she was away;
And fast to her goodwife can say,
She’s aff with the gaberlunyie-man.
7
‘O fy, gar ride, and fy, gar rin,
And hast ye find these traitors again;
For she’s be burnt, and he’s be slain,
The wearifu gaberlunyie-man.’
Some rade upo horse, some ran a-fit,
The wife was wood and out o’er wit;
She coud na gang, nor yet coud she sit,
But ay she cursd and she band.
8
Mean time far hind outoer the lee,
Fou snug in a glen, where nane coud see,
The twa, with kindly sport and glee,
Cut frae a new cheese a whang.
The priving was good, it pleasd them baith,
To loe her for ay he gae her his aith;
Quo she, To leave thee, I will be laith,
My winsome gaberlunyie-man.
9
‘O kend my minny I were wi you,
Illfardly wad she crook her mou;
Sic a poor man she’d never trow,
After the gaberlunyie-man.’
‘My dear,’ quo he, ‘ye’r yet oer young,
And ha na learnd the beggar’s tongue,
To follow me frae town to town,
And carry the gaberlunyie on.
10
‘Wi kauk and keel, I’ll win your bread,
And spindles and whorles for them wha need,
Whilk is a gentil trade indeed,
To carry the gaberlunyie, O.
I’ll bow my leg, and crook my knee,
And draw a black clout oer my eye;
A criple or blind they will ca me,
While we shall be merry and sing.’
3^2. my dady’s, Dublin, 1729, London, 1730, 1733.
FOOTNOTES:
[93] And may have been omitted by Ramsay because he “kept out all
ribaldry” from the Tea-Table Miscellany. This is not a Tea-Table
Miscellany, and I have no discretion.
[94] I owe my knowledge of all of these three copies to Mr
Baring-Gould. He informs me that the ballad which he took down is sung
throughout Cornwall and Devon.
[95] Other copies, which are rather numerous, much less: Norrenberg,
Des dülkener Fiedlers Liederbuch, p. 10, No 13; Peter I, 182; Uhland,
No 285, p. 737; Haupt u. Schmaler, I, 102, No 67; etc. See Hoffmann’s
notes, pp. 46, 47; Barack, Zimmerische Chronik, 2d ed., II, 111, and
Liebrecht’s note, Germania, XIV, 38; Schade, Weimarisches Jahrbuch,
III, 259 ff., 465 ff.
[96] For this older piece, see Ebsworth, Bagford Ballads, I, 216. There
is no adventure; the subject is the beggar’s way of life.
280
THE BEGGAR-LADDIE
=A.= ‘The Shipherd Boy,’ “Old Lady’s Collection,” No 35.
=B.= ‘The Beggar’s Dawtie,’ Murison MS., p. 85.
=C.= ‘The Beggar-Laddie,’ Motherwell’s MS., p. 249.
=D.= ‘The Gaberlunzie Laddie, or, The Beggar’s Bride,’ Christie,
Traditional Ballad Airs, I, 100.
=E.= ‘The Shepherd’s Bonny Lassy,’ Kinloch MSS, V, 249, II, 17.
This is a sort of ‘Gaberlunyie-Man’ with a romantic conclusion,
resembling that of ‘Lizie Lindsay.’ A pretended beggar, who is for the
time acting as shepherd’s swain, induces a young lady, or young woman
of good standing, to follow him as his beggar-lassie. They come to a
hall (his father’s, =A=, =D=, =E=, brother’s, =C=), he knocks loudly,
four and twenty gentlemen welcome him in, and as many ladies the
lassie, and she is thenceforth a knight’s or squire’s lady.
There is corruption in all the copies,[97] and the rhyme is frequently
lost. =A= 2 (=B= 3, =C= 3, =D= 7, =E= 5) is taken almost bodily from
‘The Gaberlunyie-Man,’ 10. =D= is not the better for being a mixture of
three copies. =D= 4 anticipates the conclusion, and it is inconceivable
that any meddler should not have seen this. =D= 14 is caught from ‘The
Jolly Beggar.’
A
The “Old Lady’s Collection,” No 35; north of Scotland.
1
Shiperd-boy, what is yer trade?
Or what way do ye wine yer bread?
Or what way do ye wine yer bread,
Fan the kipeng nout gies over?
2
‘Spindels an forls it is my trade,
An bits o sticks to them who need,
Whilk is a gentell trade indeed;
Bony lassie, cane ye lea me?’
3
‘I lea you as I supos
Rachell loved Jacob of old,
As Jason loied his flice of gould,
Sae dearly do I lea ye.
4
‘Ye cast off yer clouty coat,
An ye pitt one my scarlett cloke,
An I will follou you just att the back,
Becass ye are a bonny laddie.’
5
He cust off his cloutty coat,
An he patt on her scarlet cloke,
An she folloued him just att the back,
Becaus he was a bonny laddie.
6
They gaed on, an forder on,
Till they came to yon borrous-toun;
She bought a loaf an they both satt doun,
Bat she ate no we her laddie.
7
They gaed on, an forder one,
Till they came to the nest borrous-toun;
I wat the lassie louked doun,
For the following of her laddie.
8
‘O if I wer on the head of yon hill,
Ther I wad greet my fill,
For the follouing of my laddie.’
9
‘O had yer toung, my dearest dear,
I ill ha ye back as I brought ye hear,
For I canna bear yer morning.’
10
‘O had yer toung, my dearest dear,
I will gae throu the warld baith far an near,
Becaus ye’r a bonny ladie.’
11
They gad on, an forder on,
Till they came to his father’s haa,
An he knoked ther fue loudly.
12
‘O had yer hand, my dear[est] dear,
An dou not knoke sae loudly,
For fear they sud be angry.’
13
Four-an-tuenty gentelmen
They conved the beager ben,
An as mony gay ladës
Conved the beager’s lassie.
14
His brother lead her throu the haa:
‘I wis, brother, we had beagged a’,
For sick a bonny lassie.’
15
That same night she was bedded,
An the nist morning she was wedded;
She came to gued by grait misgiding,
By the follouing of her laddie.
B
Murison MS., p. 85; from Aberdeenshire.
1
’Twas on a day in the month o June
. . . . . . .
. . . . . . . .
When Phoebus shines sae clearly.
2
. . . . . . . .
. . . . . . .
She says, My dear, what is your trade
When thiggin ye give over?
3
‘Spinls and forls is my trade,
Wi bits o sticks I win my bread,
An O it is a winnin trade;
Bonnie lassie, can ye loo me?’
An O it is, etc.
4
‘O I can love ye manyfold,
As Jacob loved Rachel of old,
And as Jessie loved the cups o gold;
My dear, can ye believe me?’
As Jessie, etc.
5
‘It’s ye’ll tak aff the robes o red,
An ye’ll pit on the beggin-weed,
An ye’ll gang wi me an ye’ll beg your bread,
An ye’ll be the beggar’s dawtie.’
6
When they cam to yon borough-toon,
They bocht a loaf an they baith sat doon,
They bocht a loaf an they baith sat doon,
An the lassie ate wi her laddie.
7
When they cam to yon grassy hill,
Where spotted flocks do feed their fill,
‘I’ll sit me doon an I’ll greet a while,
For the followin o my laddie.’
8
‘It’s ye’ll tak aff yer beggin-weed,
An ye’ll pit on the goons o red,
An ye’ll gang ye back the road ye cam,
For I canna bide yer greetin.’
9
‘Betide me weel, betide me woe,
It’s wi the beggar an I’ll go,
An I’ll follow him through frost an snow,
An I’ll be the beggar’s dawtie.’
10
When they cam to yonder ha,
He knockit loud an sair did ca;
She says, My dear, we’ll be foun in fa
For knockin here sae loudly.
11
Four-an-twenty gentlemen
Cam a’ to welcome the beggar in,
An as monie fair ladies gay
To welcome’s bonnie lassie.
12
When at he gied through the ha,
They a’ did laugh, they were like to fa,
Sayin, Brither, I wish we had beggit a’,
For sic a bonnie lassie.
13
‘The streen ye was the beggar’s bride,
An noo this nicht ye’ll lie by my side,
Come weel, come woe, whateer betide,
An ye’ll be aye my dawtie.’
C
Motherwell’s MS., p. 249; from the recitation of Miss Ann Wilson, of
the Tontine Inn, Paisley, who learned it from the cook in her father’s
house.
1
Down in yonder garden gay,
Where many a ladie does repair,
Where many a ladie does repair,
Puing of flowers sae bonnie.
2
‘O do you see yon shepherd’s son,
Feeding his flocks in yonder loan,
Feeding his flocks in yonder loan?
Vow but he feeds them bonnie!’
3
‘O laddie, laddie, what is your trade?
Or by what means do you win your bread?
Or by what means do you win your bread?
O laddie, tell unto me.’
4
By making spindles is my trade,
Or whorles in the time o need,
And by which ways I do win my bread:
O lady, do you love me?’
5
‘As Judas loved a piece of gold,
As Jacob loved Rachel of old,
As Jacob loved Rachel of old,
O laddie, I do love thee.’
6
‘You must put off your robes of silk,
You must put on my cloutit claes,
And follow me hard at my back,
And ye’ll be my beggar-lassie.’
7
She’s put aff her robes of silk,
And she’s put on his cloutit claes,
And she’s followed him hard at his back,
And she’s been his beggar-lassie.
8
O when they cam to [the] borrowstoun,
Vow but the lassie lookit doun!
Vow but the lassie lookit doun!
Following her beggar-laddie.
9
O when they cam to Stirling toun,
He coft a loaf and they baith sat doun,
He coft a loaf and they baith sat doun,
And she’s eaten wi her beggar-laddie.
10
‘O do you see yon hie, hie hill,
Where the corn grows baith rank and tall?
If I was there, I would greet my fill,
Where naebody wuld see me.’
11
When they came to his brother’s hall,
Vow but he chappit loud and schill!
‘Don’t chap sae loud,’ the lassie said,
‘For we may be fund faut wi.’
12
Four-and-twenty gentlemen,
And twice as many gay ladies,
And twice as many gay ladies,
Came to welcome in the lassie.
13
His brother led her thro the hall,
With laughter he was like to fall;
He said, I think we should beg it all,
For she is a bonnie lassie.
14
‘You must put aff your cloutit claes,
You must put on your robes of silk,
You must put on your robes of silk,
For ye are a young knicht’s ladye.’
D
Christie’s Traditional Ballad Airs, I, 100; from three copies, two in
Banffshire, and one in Aberdeenshire.
1
’Twas in the pleasant month of June,
When woods and valleys a’ grow green,
And valiant ladies walk alane,
While Phoebus shines soe clearly.
And valiant ladies, etc.
2
Out-ower yon den I spied a swain,
Wi a shepherd’s club into his han;
He was driving ewes out-ower yon knowes,
And said, Lassie, I could love you.
He was driving ewes, etc.
3
‘Oh, I could love you manifold,
As Jacob lovd Rachel of old,
As Jesse lovd the fields of gold,
So dearly could I love you.
4
‘In ha’s and chambers ye’se be laid,
In silks and cambrics ye’se be clade,
An wi the finest ye’se be fed,
My dear, gin ye would believe me.’
5
‘Your ha’s and chambers ye’ll soon sweep clean,
Wi your flattering tongue now let me alane;
You are designd to do me wrang,
Awa, young man, and leave me.
6
‘But tell me now what is your trade,
When you’ve given over sheep and club?’
. . . . . . . .
. . . . . . . .
7
‘By making besoms I win my bread,
And spindles and whorles in time o need;
Isn’t that a gentle trade indeed?
Bonnie lassie, can you loe me?
8
‘Will ye cast aff your mantle black
And put on you a clouty cloak,
And follow me close at the back,
The gaberlunyie-laddie?’
9
Then she coost aff her mantle black,
And she put on a clouty cloak,
And she followd him close at the back,
Her gaberlunyie-laddie.
10
As they gaed through yon borough-town,
For shame the lassie lookit down;
But they bought a loaf and they both sat down,
And the lassie ate wi her laddie.
11
When they came to his father’s gate,
Sae loudly as he rappd thereat;
‘My dear,’ said she, ‘ye’ll be found in faut
For rapping there sae loudly.’
12
Then four-and-twenty gentlemen
Convoyd the gentle beggar ben,
And aye as mony gay ladies
Convoyd the bonny lassie.
13
When they were come into the ha,
Wi laughter a’ were like to fa:
‘I wish, dear brother, we had beggëd a’,
For sic a bonnie lassie.’
14
Then as he stood amang them a’,
He let his meal-pocks a’ down fa,
And in red gowd he shone oer them a’,
And she was a young knight’s lady.
15
Yestreen she was the begger’s bride,
As his wife she now stood by his side,
And for a’ the lassie’s ill misguide,
She’s now the young knight’s lady.
E
Kinloch MSS, V, 249. As recited by John Laurie, Abbeygreen.
1
’Twas in the merry month of June,
When woods and gardens were all in bloom,
When woods and gardens were all in bloom,
And Phœbus shining clearly.
2
Did you not see your shepherd-swain,
Feeding his flocks upon the plain,
Feeding his flocks all one by one,
And keeping them together?
3
Did you not see yon bonny green,
Where dukes and lords and my love hath been,
Where dukes and lords and my love hath been,
And Phœbus shining clearly?
4
‘O shepherd, shepherd, tell me indeed
Which is the way you dou win your bread,
Which is the way you dou win your bread,
When feeding you give over?’
5
‘By making spindles I win my bread,
By turning whorles in time of need,
By turning whorles in time of need,
Say, lassy, can you love me?’
6
‘I could love you manifold,
As Jacob loved Rachel of old,
As Jacob loved Rachel of old,
So dearly could I love you.’
7
‘You must cast off these robes of silk,
And put about my shepherd’s cloak,
And you must walk down at my back,
Like a shepherd’s bonny lassie.’
8
She has cast off her robes of silk,
And put about his shepherd’s cloak,
And she has walkd down at his back,
Like a shepherd’s bonny lassie.
9
O they walked up, and they walked down,
Till this fair maiden she’s wearyed grown;
Says she, My dear, we’ll go to some town,
And there tak up our lodgings.
10
O whan they cam to his father’s gate,
Sae loudly, loudly as he did rap;
Says she, My dear, we’ll be found in fault
For rapping here sae boldly.
11
But whan they cam to his father’s hall,
O loud, loud laughter they laughed all,
Saying, Brother, I wish we had herded all,
Ye’ve got sic an a bonny lassie.
12
Now this young couple they were wed,
And all the way the flowers were spread,
For in disguise they were married;
She’s now the young squire’s lady.
* * * * *
=A.=
2^2. who wad. _Cf._ ‘Gaberlunyie-Man,’ 10^2. =C=, =D=, =E=, time o
need.
4^1. clouty clok. _Cf._ 5^1.
4, 5. _In the other copies, the lady casts off her better clothes,
and puts on_ the beggin-weed, his cloutit claes, a clouty cloak, his
shepherd’s cloak, _and this disposition is no doubt the right one_.
6^3. She bought. He, =C=, They, =B=, =D=, _either of which is
preferable_.
15^2. wouded.
=C.=
8^1, 9^1; 10^1. Oh.
8^1. Borrowstoun.
=D.=
6, 7 _are printed together_.
FOOTNOTES:
[97]
=B= 4^3, As Jessie loved the cups o gold,
=C= 5^1, As Judas loved a piece of gold,
=D= 3^3, As Jesse lovd the fields of gold; the original reading being
as in
=A= 3^3, As Jason loied his flice of gould.
281
THE KEACH I THE CREEL
=A.= ‘The Keach i the Creel,’ Alexander Whitelaw, The Book of Scottish
Ballads, p. 35, 1845; Dixon, Ancient Poems, Ballads, and Songs, p.
112, Percy Society, vol. xvii, 1846.
=B.= ‘The Creel, or, Bonnie May.’ Communicated by Mr David Louden,
Morham, Haddington, 1873.
=C.= ‘The Cunning Clerk,’ Buchan’s Ballads of the North of Scotland,
I, 278, 1828.
=D.= ‘The Covering Blue,’ Kinloch MSS, I, 276; Kinloch’s Ballad Book,
p. 61, 1827.
A few copies of =A= were printed about 1845 by a Northumbrian gentleman
for private distribution. One of these came into Whitelaw’s hands,
another into Dixon’s. Dixon made some changes in reprinting. Bell,
Ancient Poems, etc., p. 75, 1857, and Bruce and Stokoe, Northumbrian
Minstrelsy, p. 82, 1882, repeat Dixon. This last remarks that “this old
and very humorous ballad has long been a favorite on both sides of the
Border.”
James Telfer, writing to Sir W. Scott, May 12, 1824 [Letters, XIII, No
73], says: “I have an humorous ballad sung by a few of the old people
on this side of the Border. It is entitled The Keach in the Creel. It
begins thus:@
A bonny may went up the street
Some whitewish (_sic_) for to buy,
And a bonny clerk’s faen in love with her,
And he’s followed her by and by, by,
And he’s followed her by and by.”@
Buchan notes, I, 319, that Motherwell had sent him a ballad “somewhat
similar in incident,” taken down from the recitation of an old woman in
or near Paisley.
This was perhaps a copy of which the first stanza is entered in
Motherwell’s Note-Book, p. 55:
When I gade doun to Colliestoun,
Some white-fish for to buy, buy,
The cannie clarkie follows me,
And he follows me spedily, -ly.
Or the ballad called ‘Ricadoo’ in the Appendix to Motherwell’s
Minstrelsy, p. xxiii, No 29, where this first stanza is given:
The farmer’s daughter gade to the market,
Some white-fish for to buy;
The young squire followed after her,
As fast as he could hie. Ricadoo,
Tunaway, ricadoo a doo a day,
Raddle ricadoo,
Tunaway
Though occurring only in a late Scottish ballad, the story is somewhat
old. In Gasté, Chansons normandes du XV^e siècle, MS. de Vire, No 19,
p. 15, a gentleman of Orleans causes his servants to let him down a
chimney in a basket, and conceals himself under a lady’s bed. She, made
aware of his presence, sends her husband off to the barn, where, she
says, he will find the curé, who has made love to her. On returning,
the husband gets his feet into the basket, and the servants without
draw the basket up. The man cries out to his wife that the devil is
making away with him.
Again, in a fabliau considerably older: ‘Du chevalier à la corbeille,’
MS. of the end of the fourteenth century, F. Michel, Gautier d’Aupais,
Le chevalier à la Corbeille, Fabliaux du XIII^e siècle, p. 35;
Montaiglon et Raynaud, Recueil général des Fabliaux, etc., II, 183. A
gentleman makes appointment to visit a lady one night when her husband
is away. An old woman, the husband’s mother, sleeps in a bed beside
the lady’s, and keeps strict watch over her. The gentleman’s squires
hoist him in a basket over the wall of the house, so that he obtains
entrance into the hall, whence he passes into the lady’s chamber. The
old woman observes a disturbance, and gets up, pretending that she is
going to the kitchen. In the hall she goes astray and falls into the
basket. The squires, noticing a movement of the cords, pull at the
basket. The old woman is ‘towed’ up and down, and knocked about, much
as in the ballad. She thinks that devils have carried her off. Finally
the squires let the cords go, and the basket comes flat to the ground.
The story is also told in Henri Estienne’s Apologie pour Hérodote,
1566; here, of a girl and her lover, and it is the girl’s father that
gets his feet into the basket. Ed. Ristelhuber, 1879, I, 282 f.
No one looks for decorum in pieces of this description, but a passage
in this ballad, which need not be particularized, is brutal and
shameless almost beyond example.
* * * * *
=C= is translated by Gerhard, p. 192.
A
Whitelaw’s Book of Scottish Ballads, p. 35; “taken down from the
recitation of a gentleman in Liddesdale.”
1
A fair young may went up the street,
Some white-fish for to buy,
And a bonnie clerk’s faen in love wi her,
And he’s followed her by and by, by,
And he’s followed her by and by.
2
‘O where live ye, my bonnie lass,
I pray thee tell to me;
For gin the nicht were ever sae mirk
I wad come and visit thee.’
3
‘O my father he aye locks the door,
My mither keeps the key;
And gin ye were ever sic a wily wight
Ye canna win in to me.’
4
But the clerk he had ae true brother,
And a wily wight was he;
And he has made a lang ladder,
Was thirty steps and three.
5
He has made a cleek but and a creel,
A creel but and a pin;
And he’s away to the chimley-top,
And he’s letten the bonnie clerk in.
6
The auld wife, being not asleep,
Heard something that was said;
‘I’ll lay my life,’ quo the silly auld wife,
‘There’s a man i our dochter’s bed.’
7
The auld man he gat owre the bed,
To see if the thing was true;
But she’s ta’en the bonny clerk in her arms,
And coverd him owre wi blue.
8
‘O where are ye gaun now, father?’ she says,
‘And where are ye gaun sae late?
Ye’ve disturbd me in my evening prayers,
And O but they were sweet!’
9
‘O ill betide ye, silly auld wife,
And an ill death may ye die!
She has the muckle buik in her arms,
And she’s prayin for you and me.’
10
The auld wife being not asleep,
Then something mair was said;
‘I’ll lay my life,’ quo the silly auld wife,
‘There’s a man i our dochter’s bed.’
11
The auld wife she got owre the bed,
To see if the thing was true;
But what the wrack took the auld wife’s fit?
For into the creel she flew.
12
The man that was at the chimley-top,
Finding the creel was fu,
He wrappit the rape round his left shouther,
And fast to him he drew.
13
‘O help! O help! O hinny, now, help!
O help, O hinny, now!
For him that ye aye wished me to
He’s carryin me off just now.’
14
‘O if the foul thief’s gotten ye,
I wish he may keep his haud;
For a’ the lee lang winter nicht
Ye’ll never lie in your bed.’
15
He’s towed her up, he’s towed her down,
He’s towed her through an through;
‘O Gude assist!’ quo the silly auld wife,
For I’m just departin now.’
16
He’s towed her up, he’s towed her down,
He’s gien her a richt down-fa,
Till every rib i the auld wife’s side
Playd nick-nack on the wa.
17
O the blue, the bonnie, bonnie blue,
And I wish the blue may do weel!
And every auld wife that’s sae jealous o her dochter,
May she get a good keach i the creel!
B
Communicated February, 1873, by Mr David Louden, of Morham,
Haddington, N. B., as derived from Andrew Hastie, Rentonhall.
1
As bonnie may went up the street,
Some sweetmeats for to buy,
There was a young clerk followed after her,
And followed her by and by, by,
And followed her by and by.
2
‘It’s bonnie may, where do you stay?
Or where is’t that you be?
Oh if the night be neer so dark,
Awat I’ll come and visit thee.’
3
‘My father locks the door at een,
My mother keeps the key;
Gin ye were neer sic a rovin blade,
Ye canna win in to me.’
4
The young clerk has a young brither,
And a wily wag was he;
He’s made to him a long ladder,
Wi thirty steps and three.
5
And he’s put it to the chimney-top,
And the creel he’s put on a pin,
And he’s put it to the chimney-top,
And he’s let the young clerk in.
6
The auld wife she was standing by,
She heard a word was said;
‘I could lay my life,’ said the silly auld wife,
There’s a man in oor dochter’s bed.’
7
The auld man he cam doun the stairs
To see if it were true;
The young clerk was lying in bonnie may’s arms,
And she’s covered him oer wi blue.
8
‘Where are you going, dear father?’ she says,
‘Where are you going so late?
You stopped me of my evening prayers,
And oh, but they were sweet!’
9
‘The deil tak you, ye silly auld wife,
And an ill death may ye dee!
For your dochter was lyin wi the book in her arms,
And she’s prayin for you and me.’
10
The auld wife still standin no far by,
Still hearin a word, she said,
‘Ye may say as ye like, ye silly auld man,
There’s a man in oor dochter’s bed.’
11
I dinna ken what’s taen the auld wife’s fit,
But into the creel she flew;
The young clerk[‘s brither] being at the chimney-top,
He found the creel was fu.
12
He’s thrown the rope out-owre his shouther,
And to him he did draw;
He’s drawn her up, he’s drawn her doun,
He’s drawn her through and through.
13
Till the auld wife she began to cry,
I’m just departin noo!
But aye he drew her up and doun,
And drew her through and through.
14
He’s drawn her up, he’s let her doun,
He’s gien her evendoun fall,
Till every rib on the auld wife’s side
Played nick-nack on the wall.
15
It’s O the blue, the bonnie, bonnie blue,
I wish the blue may do weel!
For every auld wife that is jealous o her dochter
May be rockit to the d----l in a creel!
C
Buchan’s Ballads of the North of Scotland, I, 278.
1
As I gaed down to Collistown,
Some white-fish for to buy, buy,
The cunning clerk he followed me,
And he followed me speedily, ly,
And he followed me speedily.
2
Says, Faur ye gaun, my dearest dear?
O faur ye gaun, my dow?
There’s naebody comes to my bedside,
And naebody wins to you.
3
‘Your brother is a gallant square-wright,
A gallant square-wright is he;
Ye’ll gar him make a lang ladder,
Wi thirty steps and three.
4
‘And gar him big a deep, deep creel,
A deep creel and a string,
And ye’ll come up to my bedside,
And come bonnily linken in.’
5
The auld gudeman and auld gudewife,
To bed they went, to sleep;
But wae mat worth the auld gudewife!
A wink she coudna get.
6
‘I dreamd a dreary dream this night,
I wish it binna true,
That the rottens had come thro the wa,
And cutted the coverin blue.’
7
Then up it raise the auld gudeman,
To see gin it was true;
And he’s gane to his daughter dear,
Says, What are ye doing, my dow?
8
‘What are ye doing, my daughter dear?
What are ye doing, my dow?’
‘The prayer book’s in my hand, father,
Praying for my auld minnie and you.’
9
The auld gudeman and auld gudewife,
To bed they went, to sleep;
But wae mat worth the auld gudewife!
But aye she wakend yet.
10
‘I dreamd a dreary dream this night,
I wish it binna true,
That the cunning clerk and your ae daughter
Were aneath the coverin blue.’
11
‘O rise yoursell, gudewife,’ he says,
‘The diel may had you fast!
Atween you and your ae daughter
I canno get ae night’s rest.’
12
Up then raise the auld gudewife,
To see gin it was true,
And she fell arselins in the creel,
And up the string they drew.
13
‘Win up, win up, gudeman,’ she says,
‘Win up and help me now!
For he that ye gae me to last night,
I think he’s catchd me now.’
14
‘Gin Auld Nick he has catchd you now,
I wish he may had you fast;
As for you and your ae daughter,
I ever get kindly rest.’
15
They howded her, and they showded her,
Till the auld wife gat a fa,
And three ribs o the auld wife’s side
Gaed knip-knap ower in twa.
D
Kinloch MSS, I, 276; from Alexander Kinnear, of Stonehaven.
1
‘My father he locks the doors at nicht,
My mither the keys carries ben, ben;
There’s naebody dare gae out,’ she says,
‘And as few dare come in, in,
And as few dare come in.’
2
‘I will mak a lang ladder,
Wi fifty steps and three,
I will mak a lang ladder,
And lichtly come doun to thee.’
3
He has made a lang ladder,
Wi fifty steps and three,
He has made a lang ladder,
And lichtly come doun the lum.
4
They had na kissd nor lang clappit,
As lovers do whan they meet,
Till the auld wife says to the auld man,
I hear somebody speak.
5
‘I dreamed a dreem sin late yestreen,
And I’m feard my dream be true;
I dreamd that the rottens cam thro the wa,
And cuttit the covering blue.
6
‘Ye’ll rise, ye’ll rise, my auld gudeman,
And see gin this be true;’
‘If ye’re wanting rising, rise yoursel,
For I wish the auld chiel had you.’
7
‘I dreamed a dream sin late yestreen,
And I’m feard my dream be true;
I dreamd that the clerk and our ae dother
War rowed in the covering blue.
8
‘Ye’ll rise, ye’ll rise, my auld gudeman,
And see gin this be true:’
‘If ye’re wanting rising, rise yoursel,
For I wish the auld chiel had you.’
9
But up she raise, and but she gaes,
And she fell into the gin;
He gied the tow a clever tit,
That brought her out at the lum.
10
‘Ye’ll rise, ye’ll rise, my auld gudeman,
Ye’ll rise and come to me now,
For him that ye’ve gien me sae lang till,
I fear he has gotten me now.’
11
‘The grip that he’s gotten, I wish he may haud,
And never let it gae,
For atween you and your ae dother
I rest neither nicht nor day.’
* * * * *
=A.=
1^1. May (_not_ may).
_Dixon says_: In the present impression some trifling typographical
mistakes are corrected, and the phraseology has been rendered uniform
throughout.
_In 6^2, he prints_, Tho late, late was the hour; 6^4, dochter’s
bower; 10^4, by our; 13^2, hinny, do; 13^3, wished me at.
=B.=
1^1, 2^1, 7^3. May (_not_ may).
1^4. by and bye.
15^1. She cries aye, It’s oh.
282
JOCK THE LEG AND THE MERRY MERCHANT
Buchan’s Ballads of the North of Scotland, II, 165.
Jock the Leg and a merchant (packman, pedlar) put up at the same
tavern. Jock makes free to order a good supper at the merchant’s
expense; the packman gives notice that he will not pay a penny beyond
his own shot. They go to bed in rooms separated by a locked door,
but before the merchant is well asleep Jock appears at his feet and
rouses him; it is more than time that they were on their road. The
merchant will not stir a foot till daylight; he cannot go by Barnisdale
or Coventry for fear that Jock the Leg should take his pack. His
self-imposed comrade promises to see him safely through these places,
but when they come to dangerous ground avows himself as Jock the Leg,
and demands the pack. The merchant puts his pack under a tree, and
says he will fight for it till daylight; they fight; the robber finds
a more than equal match, cries Hold! and begs the boon of a blast on
his horn, to which the merchant contemptuously accedes. Four-and-twenty
bowmen come to Jock’s help. The merchant offers to give up his pack if
the six best of these, and Jock, the seventh, can drive him one foot
from it. The seven make the attempt and fail. The merchant, holding his
pack in one hand, slays five of the six with his broadsword, and knocks
over the other. Jock declares him to be the boldest swordsman he has
ever fought with; if he were equally good with the bow, he should have
service with Jock’s master in the greenwood. The merchant would not
join a robber-band. Jock proposes a barter of deerskins for fine linen.
The merchant wants no stolen deerskins. ‘Take your pack,’ says Jock,
‘and wherever we meet we shall be good comrades.’ ‘I’ll take my pack,’
says the uncompromising merchant, ‘and wherever we meet I’ll call thee
a rank thief.’
This piece, but for names (and Jock the Leg is only a thin shrouding
for Little John), might have gone with the Robin Hood ballads. It was
composed, probably, in the last half of the eighteenth century, and for
hawkers’ purposes, but it is a better ballad, imitation as it is, than
some of the seventeenth-century broadsides of the same class (which
is indeed saying very little). The fight for the pack, 13, 14, 20, we
have in ‘The Bold Pedlar and Robin Hood’ (also a late ballad), No 132,
6, 7, 10; the “asking” of a blast on the horn and the scornful reply,
16, 17, in ‘Robin Hood and the Shepherd,’ No 135, 15, 16, with verbal
similarity in the first case. (17 is all but a repetition of No 123,
=B= 26, and No 140, =B= 25.)
1
As Jock the Leg and the merry merchant
Came from yon borrow’s town,
They took their budgets on their backs,
And fieldert they were boun.
2
But they came to a tavern-house,
Where chapmen used to be:
‘Provide, provide,’ said Jock the Leg,
‘A good supper for me.
3
‘For the merry merchant shall pay it a’,
Tho it were good merks three;’
‘But never a penny,’ said the merry merchant,
‘But shot, as it fa’s me.
4
‘A bed, a bed,’ said the merry merchant,
‘It’s time to go to rest;’
‘And that ye shall,’ said the good goodwife,
‘And your covrings o the best.’
5
Then Jock the Leg in one chamber was laid,
The merchant in another,
And lockfast door atween them twa,
That the one might not see the other.
6
But the merchant was not well lain down,
Nor yet well fa’en asleep,
Till up it starts him Jock the Leg,
Just at the merchant’s feet.
7
‘Win up, win up,’ said Jock the Leg,
‘We might hae been miles three;’
‘But never a foot,’ said the merry merchant,
‘Till day that I do see.
8
‘For I cannot go by Barnisdale,
Nor yet by Coventry;
For Jock the Leg, that common thief,
Would take my pack from me.’
9
‘I’ll hae you in by Barnisdale,
And down by Coventry,
And I’ll guard you frae Jock the Leg
Till day that ye do see.’
10
When they were in by Barnisdale,
And in by Coventry,
‘Repeat, repeat,’ said Jock the Leg,
‘The words ye ance tauld me.’
11
‘I never said aught behind your back
But what I’ll say to thee;
Are ye that robber, Jock the Leg,
Will take my pack frae me?’
12
‘O by my sooth,’ said Jock the Leg,
‘You’ll find that man I be;
Surrender that pack that’s on your back,
Or then be slain by me.’
13
He’s ta’en his pack down frae his back,
Set it below yon tree;
Says, I will fight for my good pack
Till day that I may see.
14
Then they fought there in good greenwood
Till they were bloody men;
The robber on his knees did fall,
Said, Merchant, hold your hand.
15
‘An asking, asking,’ said Jock the Leg,
‘An asking ye’ll grant me;’
‘Ask on, ask on,’ said the merry merchant,
‘For men to asking are free.’
16
‘I’ve dune little harm to you,’ he said,
‘More than you’d been my brother;
Give me a blast o my little wee horn,
And I’ll give you another.’
17
‘A blast o your little wee horn,’ he said,
‘Of this I take no doubt;
I hope you will take such a blast
Ere both your eyes fly out.’
18
He set his horn to his mouth,
And he blew loud and shrill,
And four-and-twenty bauld bowmen
Came Jock the Leg until.
19
‘Ohon, alas!’ said the merry merchant,
‘Alas! and woe is me!
Sae many, a party o common thiefs,
But nane to party me!
20
‘Ye’ll wile out six o your best bowmen,
Yourself the seventh to be,
And, put me one foot frae my pack,
My pack ye shall have free.’
21
He wiled six o his best bowmen,
Himself the seventh to be,
But [him] frae his pack they couldna get,
For all that they could dee.
22
He’s taen his pack into one hand,
His broadsword in the other,
And he slew five o the best bowmen,
And the sixth he has dung over.
23
Then all the rest they gae a shout,
As they stood by the tree;
Some said they would this merchant head,
Some said they’d let him be.
24
But Jock the Leg he then replied,
To this I’ll not agree;
He is the boldest broadsword-man
That ever I fought wi.
25
‘If ye could wield the bow, the bow
As ye can do the brand,
I would hae you to good greenwood,
To be my master’s man.’
26
‘Tho I could wield the bow, the bow
As I can do the brand,
I would not gang to good greenwood,
To join a robber-band.’
27
‘O give me some of your fine linen,
To cleathe my men and me,
And ye’se hae some of my dun deers’ skins,
Below yon greenwood-tree.’
28
‘Ye’se hae nane o my fine linen,
To cleathe your men and thee,
And I’ll hae nane o your stown deers’ skins,
Below yon greenwood-tree.’
29
‘Ye’ll take your pack upon your back,
And travel by land or sea;
In brough or land, wherever we meet,
Good billies we shall be.’
30
‘I’ll take my pack upon my back,
And go by land or sea;
In brough or land, wherever we meet,
A rank thief I’ll call thee.’
283
THE CRAFTY FARMER
=a.= ‘The Crafty Farmer,’ Logan, A Pedlar’s Pack, p. 126, from a
chap-book of 1796; ‘The Crafty Miller,’ Maidment, Scotish Ballads and
Songs, 1859, p. 208, from a Glasgow stall-copy; a stall-copy, printed
by M. Randall, Stirling.
=b.= ‘The Yorkshire Farmer,’ Kidson, Traditional Tunes, p. 140, from
The Manchester Songster, 1792.
=c.= ‘Saddle to Rags,’ Dixon, Ancient Poems, etc., p. 126, Percy
Society, vol. xvii., taken down from the recitation of a Yorkshire
yeoman in 1845.
=d.= ‘The Thief Outwitted,’ Notes and Queries, Fourth Series, XI, 112,
1873, taken down by E. McC., Guernsey, “from the recitation of an old
woman now in her eighty-second year, who learnt it in her childhood
from her father, a laborer from the neighborhood of Yeovil.”
=e.= ‘The Silly Old Man,’ Baring-Gould and Sheppard, Songs and Ballads
of the West, 3d ed., No 18, Part I, p. 38, as sung by the Rev. E.
Luscombe, a Devonshire man, about 1850 (Part IV, p. xviii).
=f.= ‘The Silly Old Man,’ Miss M. H. Mason’s Nursery Rhymes and
Country Songs, p. 43, as sung in Devonshire.
An old farmer who is on his way to pay his rent imparts the fact to a
gentlemanlike highwayman who overtakes him. The highwayman cautions him
not to be too communicative, since there are many thieves on the roads.
The old man has no fear; his money is safe in his saddle-bags. At the
right time and place the thief bids him stand and deliver. The farmer
throws his saddle over a hedge; the thief dismounts to fetch it, and
gives his horse to the farmer to hold; the farmer mounts the thief’s
horse and rides off. The thief hacks the saddle to pieces to get at
the bags. Arrived at his landlord’s, the farmer opens the thief’s
portmanteau, and finds in it six hundred pounds. The farmer’s wife
is made very happy by her husband’s report of his performances; the
thief’s money will help to enlarge her daughter’s marriage portion.
This very ordinary ballad has enjoyed great popularity, and is given
for that reason and as a specimen of its class. There is an entirely
similar one, in which a Norfolk (Rygate, Cheshire) farmer’s daughter
going to market to sell corn is substituted for the farmer going to pay
his rent: ‘The Norfolk Maiden,’ in The Longing Maid’s Garland, of the
last century, without place or date;[98] ‘The Maid of Rygate,’ Logan’s
Pedlar’s Pack, p. 133; ‘The Highwayman Outwitted,’ Leigh’s Ballads and
Legends of Cheshire, p. 267. Another variety is of a Yorkshire boy
sent to a fair to sell a cow: ‘Yorkshire Bite,’ etc., The Turnip-Sack
Garland (like The Longing Maid’s Garland, one of a collection of
Heber’s);[98] ‘The Yorkshire Bite,’ “from a collection of ballads
_circa_ 1782,” Logan’s Pedlar’s Pack, p. 131; ‘The Crafty Ploughboy,’
Ingledew’s Ballads and Songs of Yorkshire, p. 209.
For certain ballads in which a country girl, beset by an amorous
gentleman, mounts his horse and makes off with his valise or the like,
see II, 483, and the page preceding.
‘The Politick Squire, or, The Highwaymen catch’d in their own play,’ is
a ballad of a gentleman who, having been robbed by five highwaymen that
then purpose to shoot him, tells them that he is the Pretender, and is
taken by them as such to a justice. The squire makes explanations, four
of the thieves are hanged, and the fifth, who had shown some mercy, is
transported.[99]
* * * * *
1
The song that I’m going to sing,
I hope it will give you content,
Concerning a silly old man,
That was going to pay his rent.
2
As he was riding along,
Along all on the highway,
A gentleman-thief overtook him,
And thus to him did say.
3
‘Well overtaken!’ said the thief,
‘Well overtaken!’ said he;
And ‘Well overtaken!’ said the old man,
‘If thou be good company.’
4
‘How far are you going this way?’
Which made the old man for to smile;
‘By my faith,’ said the old man,
‘I’m just going two mile.
5
‘I am a poor farmer,’ he said,
‘And I farm a piece of ground,
And my half-year’s rent, kind sir,
Just comes to forty pound.
6
‘And my landlord has not been at home,
I’ve not seen him this twelvemonth or more,
Which makes my rent be large;
I’ve to pay him just fourscore.’
7
‘Thou shouldst not have told any body,
For thieves there’s ganging many;
If any should light on thee,
They’ll rob thee of thy money.’
8
‘O never mind,’ said the old man,
‘Thieves I fear on no side,
For the money is safe in my bags,
On the saddle on which I ride.’
9
As they were riding along,
The old man was thinking no ill,
The thief he pulled out a pistol
And bid the old man stand still.
10
But the old man provd crafty,
As in the world there’s many;
He threw his saddle oer the hedge,
Saying, Fetch it, if thou’lt have any.
11
The thief got off his horse,
With courage stout and bold,
To search for the old man’s bag,
And gave him his horse to hold.
12
The old man put’s foot i the stirrup
And he got on astride;
To its side he clapt his spur up,
You need not bid the old man ride.
13
‘O stay!’ said the thief, ‘O stay!
And half the share thou shalt have;’
‘Nay, by my faith,’ said the old man,
‘For once I have bitten a knave.’
14
The thief he was not content,
But he thought there must be bags;
He out with his rusty old sword
And chopt the old saddle in rags.
15
When he came to the landlord’s house,
This old man he was almost spent;
Saying, Come, show me a private room
And I’ll pay you a whole year’s rent.
16
‘I’ve met a fond fool by the way,
I swapt horses and gave him no boot;
But never mind,’ said the old man,
‘For I got the fond fool by the foot.’
17
He opend this rogue’s portmantle,
It was glorious to behold;
There were three hundred pounds in silver,
And three hundred pounds in gold.
18
And as he was riding home,
And down a narrow lane,
He espied his mare tied to a hedge,
Saying, Prithee, Tib, wilt thou gang hame?
19
When he got home to his wife
And told her what he had done,
Up she rose and put on her clothes,
And about the house did run.
20
She sung, and she sung, and she sung,
She sung with a merry devotion,
Saying, If ever our daughter gets wed,
It will help to enlarge her portion.
* * * * *
=a.=
_There are some slight verbal differences in the three copies, but
none worthy of notice._
=b.=
1
A song I will sing unto you,
A song of a merry intent,
It is of a silly old man
That went to pay his rent,
That went to pay his rent.
2
And as he was riding along,
A riding along the highway,
A gentleman-thief steps before the old man
And thus unto him he did say.
3
‘My friend, how dare you ride alone?
For so many thieves there now be;
If any should but light on you,
They’d rob you of all your money.’
4
‘If that they should light upon me,
I’m sure they’d be very ill-sped,
For, to tell you the truth, my kind sir,
In my saddle my money I’ve hid.’
5
So as they were riding along,
And going down a steep hill,
The gentleman-thief slipped before the old man
And quickly he bid him stand still.
6
The old man, however, being cunning,
As in this world there are many,
He threw the saddle right over the hedge,
Saying, Fetch it if thou wouldst have any.
7
The thief being so greedy of money--
He thought that of it there’d been bags--
Whipt out a rusty old sword
And chopped the saddle to rags.
8
The old man put his foot in the stirrup
And presently he got astride;
He put the thief’s horse to the gallop,
You need not bid the old man ride.
9
‘Nay, stay! nay, stay!’ says the thief,
‘And half the money thou shalt have;’
‘Nay, by my troth,’ says the old man,
‘For once I have cheated a knave.’
10
And so the old man rode along,
And went with a merry devotion,
Saying, If ever I live to get home,
‘Twill enlarge my daughter’s portion.
11
And having arrived at home,
And got there with merry intent,
Says he, Landlord, show me a room,
And I’ll pay you your half-year’s rent.
12
They opened the thief’s portmanteau,
And from it they took out so bold
A hundred pounds in silver
And a hundred pounds in gold.
=c-f=, _the traditional copies, were beyond doubt all derived
originally from print_. =c= _is from_ =a=; =d-f= _are from another
edition, not recovered, resembling_ =b=. _This had variations,
especially at the beginning and end, of which some specimens will
suffice._
=d.=
1
Oh ’tis I that will sing you a song,
A song of merry intent;
’Tis about a silly old man
That was going to pay his rent.
2
And as he was riding along,
Along and alone in a lane,
A gentleman-thief overtook him,
And said, Well overtaken, old man!
3
‘You’re well overtaken, old man,
You’re well overtaken by me;’
‘Nay, further go,’ said the old man,
‘I’m not for thy company.’
4, 6 _are wanting, as also in_ =e=, =f=, (_and in_ =b=).
8^{2-4}
‘He shall but poorly speed,
For all the money I have
In my old saddle ’tis hid.’
19, 20
Oh, when that he came home,
His daughter she looked like a duchess,
And his old woman capered for joy,
And danced him a gig on her crutches.
=e.=
1
Aw come now, I’ll sing you a song,
’Tis a song of right merry intent,
Concerning a silly old man
Who went for to pay his rent.
2
And as this here silly old man
Was riding along the lane,
A gentleman-thief overtook him,
Saying, Well overtaken, old man!
3
‘What, well overtaken, do’y say?’
‘Yes, well overtaken,’ quoth he;
‘No, no,’ said the silly old man,
‘I don’t want thy company.’
8^{2-4}
‘Why, badly the thief would be sped,
For the money I carry about me
In the quilt o my saddle is hid.’
19, 20
Aw, when to his home he were come,
His daughter he dressd like a duchess,
And his ol woman kicked and she capered for joy,
And at Christmas danced jigs on her crutches.
=f.= _Resembles_ =d=, =e= _in the passages cited_.
FOOTNOTES:
[98] Also among the garlands collected by J. Bell, Newcastle, British
Museum: the first, 11621. c. 2 (36), and 4 (13); the other, c. 2 (70).
The garlands in 4 were printed, according to Bell, by J. White, †1769,
or by T. Saint, †1788.
[99] Douce Ballads, III, fol. 78 b., London, Printed and sold at
Sympson’s Warehouse, in Stonecutter-Street, Fleet-Market.
284
JOHN DORY
Ravenscroft’s Deuteromelia, London, 1609; No 1 of Freemen’s Songs, sig.
B.
John Dory goes to Paris and offers King John, in return for a pardon
asked for himself and his men, to bring the French king all the churls
in England in bonds. Nicholl, a Cornish man, fits out a good bark, has
an encounter with John Dory, and after a smart fight takes him prisoner.
This ballad had a remarkable popularity in the seventeenth century, as
is evinced by the numerous cases of its being cited which Chappell has
collected, Popular Music, p. 67 f.[100]
As to the history of the transactions set forth in the ballad, I am not
aware that anything has been added to the account given by Carew in his
Survey of Cornwall, 1602, p. 135, which Ritson has quoted in the second
edition of his Ancient Songs, II, 57, an account which is likely to
have been taken from the ballad, with the specification from tradition
that Nicholl was “son to a widow near Foy.”
“Moreover, the prowess of one Nicholas, son to a widow near Foy, is
descanted upon in an old three-man’s song, namely, how he fought
bravely at sea with John Dory (a Genowey, as I conjecture), set forth
by John, the French king, and, after much bloodshed on both sides,
took, and slew him, in revenge of the great ravine and cruelty which he
had fore committed upon the Englishmen’s goods and bodies.” (Page 316
of the edition of 1813.)
The king in the ballad would be John II, the Good, who was taken
prisoner at Poitiers, and died in 1364. No John Doria is mentioned as
being in his service.
1
As it fell on a holy-day,
And vpon an holy-tide-a,
Iohn Dory bought him an ambling nag,
To Paris for to ride-a.
2
And when John Dory to Paris was come,
A little before the gate-a,
John Dory was fitted, the porter was witted
To let him in thereat-a.
3
The first man that John Dory did meet
Was good king John of France-a;
John Dory could well of his courtesie,
But fell downe in a trance-a.
4
‘A pardon, a pardon, my liege and my king,
For my merie men and for me-a,
And all the churles in merie England,
I’le bring them all bound to thee-a.’
5
And Nicholl was then a Cornish man,
A little beside Bohide-a,
And he mande forth a good blacke barke,
With fiftie good oares on a side-a.
6
‘Run vp, my boy, vnto the maine top,
And looke what thou canst spie-a:’
‘Who ho! who ho! a goodly ship I do see,
I trow it be John Dory[-a.’]
7
They hoist their sailes, both top and top,
The meisseine and all was tride-a,
And euery man stood to his lot,
What euer should betide-a.
8
The roring cannons then were plide,
And dub-a-dub went the drumme-a;
The braying trumpets lowde they cride
To courage both all and some-a.
9
The grappling-hooks were brought at length,
The browne bill and the sword-a,
John Dory at length, for all his strength,
Was clapt fast vnder board-a.
FOOTNOTES:
[100] The song “I cannot eat but little meat,” introduced into Gammer
Gurton’s Needle, which was acted in 1566, was sung to ‘John Dory,’ says
Mr Chappell, as above; but there is nothing to show that this was the
original tune.
285
THE GEORGE ALOE AND THE SWEEPSTAKE
=a.= Percy Papers, “from an ancient black-letter copy in Ballard’s
collection.”
=b.= Rawlinson, 566, fol. 183, 4^o.
=c.= Roxburghe, III, 204, in Ebsworth, Roxburghe Ballads, VI, 408.
March 19, 1611, there were entered to Richard Jones, “Captayne
Jenninges his songe, whiche he made in the Marshalsey,” etc., and
“the second parte of the George Aloo and the Swiftestake, beinge both
ballades:” Arber, III, 456. The second part of the George Aloo must
needs mean a second ballad, not the printers’ second half (which begins
in =c= at the stanza here numbered 14). In ‘The Two Noble Kinsmen,’
printed in 1634, and perhaps earlier, the Jailer’s Daughter sings the
two following stanzas (Dyce, XI, 386):
The George Alow came from the south,
From the coast of Barbary-a,
And there he met with brave gallants of war,
By one, by two, by three-a.
Well haild, well haild, you jolly gallants,
And whither now are you bound-a?
Oh, let me have your company
Till [I] come to the sound-a.
These verses, whether accurately reported or not, certainly seem to
belong to another ballad. Whether they are from the first part or
the second part, we have no means of assuring ourselves. It is to
be observed that in the ballad before us the George Aloe and the
Sweepstake are sailing _for_ Safee, and in the other case the George
Aloe is coming _from_ the south, from the coast of Barbary, so that the
adventure, whatever it was, may have occurred in the homeward voyage;
but the circumstance is not decisive.[101]
The George Aloe and the Sweepstake, merchantmen, are bound for Safee.
The George Aloe anchors, the Sweepstake keeps on, is taken by a French
rover, and her crew thrown overboard. The George Aloe hears of this,
and sets out to take the Frenchman. Her second shot carries away the
enemy’s mainmast; the Frenchmen cry for mercy. The English ask what
they did with the crew of the Sweepstake; the Frenchmen confess that
they threw them into the sea. Such mercy as you shewed such mercy shall
you have, say the English, and deal with the French accordingly.
‘Aboard,’ 6^2, 16^2, I suppose to mean alongside. ‘Amain,’ 7^1, 16^1,
is strike (sails) in sign of surrender. The French use the word derived
from their own language; the English say, strike. ‘Gallant’ Englishmen
in 7^1, after ‘English dogs’ in 6^1, is unlikely courtesy, and is not
found in 16^1.
‘The Swepstacke’ is a king’s ship in 1545, and ‘The Sweepstakes’
apparently again in 1666: Historical MSS Commission, 12th Report,
Appendix, Part VII, pp. 8, 45.
1
The George Aloe and the Sweepstakes too,
With hey, with ho, for and a nony no
They were two merchant-men, a sailing for Safee.
And along the course of Barbary
2
[The George Aloe to anchor came,
But the jolly Sweepstake kept on her way.]
3
They had not sayled leagues two or three
Before they spyed a sail upon the sea.
4
‘O hail, O hail, you lusty gallants,
From whence is your good ship, and whither is she bound?’
5
‘O we are some merchant-men, sailing for Safee:’
‘And we be French rebels, a roving on the sea.
6
‘O hail, O hail, you English dogs, [hail!]’
‘The[n] come aboard, you French dogs, and strike down your sail!’
7
‘Amain, amain, you gallant Englishmen!’
‘Come, you French swades, and strike down your sails!’
8
They laid us aboard on the starboard side,
And they overthrew us into the sea so wide.
9
When tidings to the George Aloe came
That the jolly Sweepstakes by a Frenchman was tane,
10
‘To top, to top, thou little ship-boy,
And see if this French man-of-war thou canst descry.’
11
‘A sail, a sail, under your lee,
Yea, and another under her bough.’
12
‘Weigh anchor, weigh anchor, O jolly boatswain,
We will take this Frenchman if we can.’
13
We had not sailed leagues two or three
But we met the French man-of-war upon the sea.
14
‘All hail, all hail, you lusty gallants,
Of whence is your fair ship, and whither is she bound?’
15
‘O we are merchant-men, and bound for Safee;’
‘And we are Frenchmen, roving upon the sea.
16
‘Amain, amain, you English dogs!’
‘Come aboard, you French rogues, and strike your sails!’
17
The first good shot the George Aloe shot,
It made the Frenchmen’s hearts sore afraid.
18
The second shot the George Aloe did afford,
He struck the main-mast over the board.
19
‘Have mercy, have mercy, you brave English[men].’
‘O what have you done with our brethren on [shore]?’
As they sail[ed].
20
‘We laid them aboard on the starboard side,
And we threw them into the sea so wide.’
21
‘Such mercy as you have shewed unto them,
Even the like mercy shall you have again.’
22
We laid them aboard on the larboard side,
And we threw them into the sea so wide.
23
Lord, how it grieved our hearts full sore
To see the drowned Frenchmen float along the shore!
24
Now, gallant seamen all, adieu,
With hey, with ho, for and a nony no
This is the last news that I can write to you.
To England’s coast from Barbary
* * * * *
=a.= The Seamans only Delight: Shewing the brave fight between the
George Aloe, the Sweepstakes, and certain French Men at sea. Tune, The
Sailor’s Joy, etc. (_No printers given in the transcript._)
=b.= The Saylors only Delight: Shewing the brave fight between the
George-Aloe, the Sweepstake, and certain Frenchmen at sea. To the
tune of The Saylors Joy. London, Printed for F. Coles, T. Vere and J.
[Wright] (_torn_). 1655-80, Chappell.
=c.= The Sailors onely Delight: Shewing the brave fight between
George-Aloe, the Sweep-stakes, and certain French-men at sea. To the
tune of The Saylor’s Joy. Printed for F. Coles, J. Wright, Tho. Vere,
and W. Gilbertson. The earliest known ballad by the four together is
dated 1655, Chappell. (See No 273, Appendix, III, =b=.)
=a.=
1, 24. _Burden^1._ anony.
1. _Burden^2._ course _should probably be_ coast.
2. _Wanting; supplied from_ =b=, =c=.
4^1. O hail, oh.
5^1, 6^1, 15^1. Oh.
10^2. Frenchman of war.
13^2. French Men of War.
17^2. French Mens.
19. _Ends torn away. Percy gives, after_ english, =A=, _which may be
the first half of an_ =M=; _after_ on, fl, _which may possibly be a
wrong reading of_ sh. Shore _is not what we should expect. Defects
supplied from_ =b=, =c=.
23^2. French Men.
=b.=
1. _Burden^1._ a nony. _Burden^2._ alongst the cost.
1^1, 9^2. Sweepstake.
1^2. O they were marchant men and bound.
3^2. But they met with a Frenchman of war upon.
4^1. All hayl, all hayl.
4^2. Of whence is your fair ship, whether are you bound.
5^1. We are Englishmen and bound.
5^2. Of whence is your fair ship, or whether are you bound.
6. _Wanting._
7^2. swads.
10^2. Frenchman.
11^1. our lee.
11^2. under her obey.
13^2. Frenchman.
14^2. is it.
15^2. I, and we are Frenchmen and war.
16^2. strike down.
17^2. He made: heart.
18^2. strook.
19^1. brave Englishmen.
19^2. brethen on shore.
_Burden^2._ As they sayled into Barbary.
23^1. greives.
23^2. swim along.
=c.=
4^2. or whither.
7^1. Englishman.
7^2. sayle.
14^2. whither are you.
16^2. rogue.
17^2. hearts.
18^2. struck their.
19^2. brethren on shore. _Burden^2._ sayled in.
21^2. Then the. _Variations otherwise as in_ =b=.
FOOTNOTES:
[101] There is an entry, July 31, 1590, of A Ditty of the fight upon
the seas the fourth of June last in the Straits of Gibraltar between
the George and the Thomas Bonaventure and eight galleys with three
frigates (Arber, II, 557), but it is likely that there were Georges
many, and only one George Aloe.
Mr Ebsworth has pointed out that a ballad called The Sailor’s Joy, the
name of the tune to which ‘The George Aloe and the Sweepstake’ was to
be sung, was entered in the Stationers’ Registers, January 14, 1595:
Arber, II, 669.
286
THE SWEET TRINITY (THE GOLDEN VANITY)
=A.= ‘Sir Walter Raleigh sailing in the Low-lands,’ etc., Pepys
Ballads, IV, 196, No 189 (1682-85).
=B. a.= ‘The Goulden Vanitie,’ Logan’s Pedlar’s Pack, p. 42; Mrs
Gordon’s Memoir of John Wilson, II, 317. =b.= As sung by Mr G.
Du Maurier, sent me by J. R. Lowell, =c.= ‘The French Galley,’
Motherwell’s MS., p. 420. =d.= Communicated by Mrs Moncrieff, of
London, Ontario. =e.= ‘The Lowlands Low,’ Findlay MSS, I, 161. =f.=
Sharpe’s Ballad Book, 1880, p. 160, notes of Sir Walter Scott.
=C. a.= ‘Golden Vanity, or, The Low Lands Low,’ Pitts, Seven Dials,
in Logan’s Pedlar’s Pack, p. 45; Ebsworth, Roxburghe Ballads, VI,
419. =b.= ‘The Lowlands Low,’ Long, Dictionary of the Isle of Wight
Dialect, p. 145. =c.= ‘Low in the Lowlands Low,’ Christie, I, 238.
=d.= ‘The Golden Vanity,’ Baring-Gould and Sheppard,’Songs of the
West,’ No 64. =e.= ‘The French Gallio,’ ‘The French Gallolee,’ Buchan
MSS, II, 390, 414. =f.= ‘The Turkish Galley,’ Motherwell’s MS., p.
392, and Note-Book, p. 50. =g.= ‘The Lowlands Low,’ Macmath MS., p. 80.
=A= also in Euing, No 334, Crawford, No 1073, Huth, II, No 134; all by
the same printer, 1682-85.
Motherwell enters the first stanza of another copy of ‘The Turkish
Galley’ in his Note-Book, p. 10, and refers to three copies more,
besides =B d=, at p. 51.
There is a retouched copy of =C= in English County Songs, Lucy E.
Broadwood and J. A. Fuller Maitland, p. 182.
=B=, =C=, are probably traditional variations of the broadside =A=.
The conclusion of the broadside is sufficiently inadequate to impel
almost any singer to attempt an improvement, and a rather more
effective catastrophe is the only signal difference besides names.
It is, however, not quite impossible that the ultimate source of the
traditional copies may be as old as the broadside.
=A.= ‘The Sweet Trinity,’ a ship built by Sir Walter Raleigh, has been
taken by a galley of a nationality not specified. The master of some
English ship asks what seaman will take the galley and redeem The Sweet
Trinity. A ship-boy asks what the reward shall be; the reward shall be
gold and fee, and the master’s eldest daughter. The ship-boy, who is
possessed of an auger which bores fifteen holes at once, swims to the
galley, sinks her, and releases The Sweet Trinity; then swims back to
his ship and demands his pay. The master will give gold and fee, but
not his daughter to wife. The ship-boy says, Farewell, since you are
not so good as your word.
=B.= No ship has been taken by an enemy. The Golden Vanity, Golden
Victorie, =e=, falls in with a French galley, which a cabin-boy
undertakes to sink for a reward. The reward is to be, =a=, =b=, an
estate in the North Country; =c=, half the captain’s lands in the South
Country, meat and fee, and the captain’s eldest daughter; =e=, gold and
fee, and the captain’s daughter. The boy is rolled up in a bull-skin
and thrown over the deck-board (a corruption, see =C=). He takes out
an instrument, and bores thirty holes at twice, =a=; a gimlet, and
bores sixty holes and thrice, =b=; he struck her with an instrument,
bored thirty holes at twice, =c=; threescore holes he scuttled in a
trice, =d=; struck her wi an auger, thirty three and thrice, =e=. After
sinking the galley he calls to the Golden Vanity to throw him a rope,
take him on board, and be as good as their word, all which is refused.
He threatens to serve them as he has the galley, =a=, =b=, =d=; they
take him up and prove better than their word, =a=, =d=, or as good,
=b=. (Of =f= very little was remembered by Scott, and the ballad was
besides confounded with ‘The George Aloe.’[102])
=C.= The distinguishing feature is that the boy dies after he is
taken up from the water, and is sewed up in a cow’s hide and thrown
overboard, ‘to go down with the tide.’ The Golden Vanity, =a-d=, The
Gold Pinnatree, =e=, The Golden Trinitie, =g=, is in danger from a
Turkish galleon, =a=, =f=, =g=, a Spanish, =b=, =c= (pirate Targalley),
=d=, French, =e=. The captain of the English ship promises the
cabin-boy gold, fee, and daughter, if he will sink the enemy. The boy
has, and uses, an auger, to bore two holes at twice, =a=, that bores
twenty holes in twice, =b=, to bore two holes at once, =c=; a case
of instruments, ca’s fifty holes and drives them a’ at once, =e=; an
instrument, and bores nine holes in her water-sluice, =f=; an auger
fitted for the use, and bores in her bottom a watery sluice, =g=. The
master will not take him on board, will kill him, shoot him, sink him,
=a-d=; will not keep his bargain, ‘for as you’ve done to her, so would
you do to me,’ =e= (compare the threat in =B= 13). The boy is taken up
by his mess-mates and dies on the deck, =a=, =c=, =d=; is sewed in a
cow-hide and thrown overboard, =a=, =c-g=; in =b= sinks from exhaustion
and drowns.
A
Pepys Ballads, IV, 196, No 189.
1
Sir Walter Rawleigh has built a ship,
In the Neatherlands
Sir Walter Rawleigh has built a ship,
In the Neather-lands
And it is called The Sweet Trinity,
And was taken by the false gallaly.
Sailing in the Low-lands
2
‘Is there never a seaman bold
In the Neather-lands
Is there never a seaman bold
In the Neather-lands
That will go take this false gallaly,
And to redeem The Sweet Trinity?’
Sailing, etc.
3
Then spoke the little ship-boy;
In the Neather-lands
Then spoke the little ship-boy;
In the Neather-lands
‘Master, master, what will you give me
And I will take this false gallaly,
And release The Sweet Trinity?’
Sailing, etc.
4
‘I’ll give thee gold, and I’le give thee fee,
In the Neather-lands
I’ll give thee gold and I’le give thee fee,
In the Neather-lands
And my eldest daughter thy wife shall be.’
Sailing, etc.
5
He set his breast, and away he did swim,
Until he came to the false gallaly.
6
He had an augor fit for the [n]once,
The which will bore fifteen good holes at once.
7
Some ware at cards, and some at dice,
Until the salt water flashd in their eyes.
8
Some cut their hats, and some cut their caps,
For to stop the salt-water gaps.
9
He set his breast, and away did swim,
Until he came to his own ship again.
10
‘I have done the work I promised to do,
For I have sunk the false gallaly,
And released The Sweet Trinity.
11
‘You promised me gold, and you promised me fee,
Your eldest daughter my wife she must be.’
12
‘You shall have gold, and you shall have fee,
But my eldest daughter your wife shall never be.’
For sailing, etc.
13
‘Then fare you well, you cozening lord,
Seeing you are not so good as your word.’
For sailing, etc.
14
And thus I shall conclude my song,
Of the sailing in the Low-lands
Wishing all happiness to all seamen both old and young.
In their sailing in the Low-lands
B
=a.= Logan’s Pedlar’s Pack, p. 42, as sung about 1840 by Mr P. S.
Fraser, of Edinburgh, and obtained by him orally. =b.= As sung by Mr
George Du Maurier to Mr J. R. Lowell, 1884. =c.= Motherwell’s MS., p.
420; from Mr John Cleland, marble-cutter, Glasgow, who had it of Mr
Forrester, Stirling. =d.= Communicated by Mrs Moncrieff, as taught to
a relative of hers by an old Scottish lady about 1830. =e.= Findlay
MSS, I, 161, “from Strang, Divinity Student, 1868.” =f.= Sharpe’s
Ballad Book, 1880, p. 160, note by Sir Walter Scott.
1
There was a gallant ship, and a gallant ship was she
Eck iddle du, and the Lowlands low
And she was called The Goulden Vanitie.
As she sailed to the Lowlands low
2
She had not sailed a league, a league but only three,
Eck, etc.
When she came up with a French gallee.
As she sailed, etc.
3
Out spoke the little cabin-boy, out spoke he;
‘What will you give me if I sink that French gallee?’
As ye sail, etc.
4
Out spoke the captain, out spoke he;
‘We’ll gie ye an estate in the North Countrie.’
As we sail, etc.
5
‘Then row me up ticht in a black bull’s skin,
And throw me oer deck-buird, sink I or swim.’
As ye sail, etc.
6
So they’ve rowed him up ticht in a black bull’s skin,
And have thrown him oer deck-buird, sink he or soom.
As they sail, etc.
7
About, and about, and about went he,
Until he cam up with the French gallee.
As they sailed, etc.
8
O some were playing cards, and some were playing dice,
When he took out an instrument, bored thirty holes at twice.
As they sailed, etc.
9
Then some they ran with cloaks, and some they ran with caps,
To try if they could stap the saut-water draps.
As they sailed, etc.
10
About, and about, and about went he,
Until he cam back to The Goulden Vanitie.
As they sailed, etc.
11
‘Now throw me oer a rope and pu me up on buird,
And prove unto me as guid as your word.’
As ye sail, etc.
12
‘We’ll no throw you oer a rope, nor pu you up on buird,
Nor prove unto you as guid as our word.’
As we sail, etc.
13
Out spoke the little cabin-boy, out spoke he;
Then hang me, I’ll sink ye as I sunk the French gallee.
As ye sail, etc.
14
But they’ve thrown him oer a rope, and have pu’d him up on buird,
And have proved unto him far better than their word.
As they sailed, etc.
C
=a.= Stall-copy, Pitts, Seven Dials, Logan’s Pedlar’s Pack, p. 45.
=b.= Long’s Dictionary of the Isle of Wight Dialect, p. 145. =c.=
Christie, Traditional Ballad Airs, I, 238, compounded from the
recitation of an old woman of Buckie, Banffshire, and a chap-book
copy. =d.= Baring-Gould and Sheppard, Songs of the West, No 64,
Part III, p. 24, Part IV, p. xxxi, taken down from James Olver,
Launceston (an improved copy). =e.= Buchan’s MSS, II, 390, 414. =f.=
Motherwell’s MS., p. 392, and Note-Book, p. 50, from the recitation
of Agnes Lyle, 24th August, 1825. =g.= Macmath MS., p. 80, from the
recitation of Miss Agnes Macmath, 1893; learned at Airds of Kells,
Kirkcudbrightshire.
1
‘I have a ship in the North Countrie,
And she goes by the name of The Golden Vanity;
I’m afraid she will be taken by some Turkish gallee,
As she sails on the Low Lands Low.’
2
Then up starts our little cabin-boy,
Saying, Master, what will you give me if I do them destroy?
‘I will give you gold, I will give you store,
You shall have my daughter when I return on shore,
If ye sink them in the Low Lands Low.’
3
The boy bent his breast and away he jumpt in;
He swam till he came to this Turkish galleon,
As she laid on the Low Lands Low.
4
The boy he had an auger to bore holes two at twice;
While some were playing cards, and some were playing dice,
He let the water in, and it dazzled in their eyes,
And he sunk them in the Low Lands Low.
5
The boy he bent his breast and away he swam back again,
Saying, Master take me up, or I shall be slain,
For I have sunk them in the Low Lands Low.
6
‘I’ll not take you up,’ the master he cried;
‘I’ll not take you up,’ the master replied;
‘I will kill you, I will shoot you, I will send you with the tide,
I will sink you in the Low Lands Low.’
7
The boy he swam round all by the starboard-side;
They laid him on the deck, and it’s there he soon died;
Then they sewed him up in an old cow’s-hide,
And they threw him overboard, to go down with the tide,
And they sunk him in the Low Lands Low.
* * * * *
=A.=
Sir Walter Raleigh sailing in the Low-lands: Shewing how the famous
ship called The Sweet Trinity was taken by a false gally, and how it
was again restored by the craft of a little sea-boy, who sunk the
galley: as the following song will declare. To the tune of The Sailing
of the Low-land.
(End.) This may be printed. R. L. S. (Sir R. L’Estrange was licenser
from 1663 to 1685.)
Printed for J. Conyers at the Black-Raven, the first shop in
Fetter-Lane next Holborn. (J. Conyers, 1682-91. Chappell.)
=a.=
7^1. at somt dice.
=B. a.=
8^1. Oh.
=b.=
_The variations are but trifling._
7.
And awa, and awa, and awa swam he,
Till he swam up to.
8^2. He just took out a gimlet and bored sixty holes and thrice.
9^2. But they couldna run awa from the saltwater drops.
10.
Then awa, and awa, and awa swam he,
Till he swam back to.
12^1. I’ll na: rope, I’ll na.
12^2. I’ll na: unto thee: my word.
13.
An ye na throw me oer a rope an ye na pull me up aboard,
I’ll just sink ye.
14^2. And they proved unto him as good as their word.
=c.=
1
There was an auncient ship, and an auncient ship was she,
Eee eedle ee, in the Lowlands so low
And the name of the ship was The Golden Vanitie.
As she sailed from the Lowlands so low
2
She had not sailed a league, no, not a league but three,
Until that shee spied a French galley.
3
‘It’s master, O master, what’ll ye gie me,
If I go and sink yon French galley?’
4
O then said the master, I will gie till ye
The half of my lands in the South Countrie.
5
‘It’s I’ll gie ye meat, and I’ll gie ye fee,
And my eldest daughter your bride for to be.’
6
‘It’s wrap me up tight in a gude bull’s-skin,
And throw me over deck-board, sink I or swim.’
7
So they wrapt him tight in a gude bull’s-skin,
And they’ve thrown him over deck-board, sink he or swim.
8
And about, and about, and about went he,
Until that he came to the French galley.
9
It’s some were playing at cards, and some were playing at dice,
But he struck her with an instrument, bored thirty holes at twice.
10
Some ran wi hats, and some ran wi caps,
All for to stop the salt-waters draps.
As they, etc.
3^1, 4^1. oh, Oh.
=d.=
1
There was an ancient ship, and an ancient ship was she,
Italy and the Lowlands low
And her name it was The Golden Vanity.
As she sailed for the Lowlands low
2
She had not sailed a mile, a mile but barely three,
When she hove in sight of a French galley.
3
Up spak the prentice-boy; What’ll ye gie me,
If I gang and sink yon French galley?
As she sails, etc.
4
Up spak the captain; What’ll I gie ye,
. . . . . . . .
As she sails, etc.
_5 forgotten._
6
‘It’s row me up in a tough bull’s-skin,
And throw me overboard, let me sink or swim.’
As we sail, etc.
7
They’ve rowed him up tight in a tough bull’s-skin,
And they’ve thrown him overboard, let him sink or swim.
As they sailed, etc.
8
Then about, and about, and about went he,
Until that he reached that French galley.
As she sailed, etc.
9
. . . . . . . . .
And three-score holes he scuttled in a trice.
As she sailed, etc.
10
‘Now throw me owre a rope and pull me up on board,
And prove unto me as gude as yere word.’
As we sail, etc.
11
‘I’ll not throw ye owre a rope, nor pull ye up on board,
Nor prove unto ye as guid as my word.’
As we sail, etc.
12
‘Throw me owre a rope and pull me up on board,
Or I’ll do to ye as I did the French galley.’
As she sailed, etc.
13
Then they threw him owre a rope and pulled him up on board,
And proved unto him far better than their word.
As they sailed, etc.
=e.=
1
O she was an English ship, an an English ship was she,
Hey diddie dee for the Lowlands low
And her name it was The Golden Victorie.
As she sailed for the Lowlands low.
2
. . . . . . . .
And she fell in wi a French galee.
As she sailed, etc.
3
‘O what’ll ye gie me, captain, what’ll ye gie me,
If I go an sink yon French galee?’
As she sails, etc.
4
‘O I’ll gie thee goud, an I’ll gie thee fee,
An my eldest daughter your wife shall be.’
As we sail, etc.
5
‘Then wrap me up tight in tough bull-hide,
An to sink or swim ye’ll pitch me ower the side.’
As we sail, etc.
6
They wrapt him up tight in tough bull-hide,
An to sink or swim they pitchd him ower the side,
As they sailed, etc.
7
He swam, an he swam, an he better swam,
Until he to the French galley cam.
As she sailed, etc.
8
O some were playin cards, an some were playin dice,
But he struck her wi an auger thirty three and thrice.
As she sailed, etc.
9
Aboot, an aboot, an aboot went she,
Until she cam to the bottom of the sea.
As she sailed, etc.
=f.=
_Sir Walter Scott’s recollections here seem not trustworthy, and of
this he was himself aware._
1
The George-a-Low eame down the strait,
Hey low and the Lowlands so low
And she will be lost, both vessel and freight,
For the chasing of a French galerie O
5
‘Row me in a good bull-skin,
And fling me overboard, for to sink or to swim,’
For the sinking of yon French galerie O
6
They row him, etc.
8
Some were playing at cards and dice,
When the sea came gushing in a trice.
For the sinking, etc.
=C.= =b.=
1
Our ship she was called The Golden Vanitie;
We had sailed from our port about miles fifty-three,
When up came with us a Spanish gallee,
To sink us in the Lowlands low.
2
Our master wrung his hands, but our little cabin-boy
Said, What will you give me, master, if I do them destroy?
‘Oh I will give you gold, and my daughter too, with joy,
If you sink them,’ etc.
3
The boy gave a nod, and then jumped into the sea,
And he swam till he came to the Spanish gallee;
He climbed up aboard, and below to work went he,
To sink them, etc.
4
For this boy he had an auger that bored twenty holes in twice,
And while some were playing cards, and some were playing dice,
Through the bottom of the ship he bored it in a trice,
And he sunk them, etc.
5
The galley she went down, but the boy swam back again,
Crying, Master, pick me up, or I shall soon be slain;
Pray heave to me a rope, or I shall sink in the main;
For I’ve sunk them, etc.
6
‘I will not pick you up,’ the master loudly cried,
‘I will not heave a rope,’ the master he replied;
‘I will kill you, I will sink you, I will leave you in the tide,
I will sink you,’ etc.
7
The boy he swam around the ship from side to side,
But he could not get aboard, so he sank, and he died,
And they left him where he was, to go down with the tide;
So they sunk him, etc.
=c.=
1
There was a good ship from the North Countrie,
Sailing low in the Lowlands low
There was, etc.
And that ship’s name was The Golden Vanity.
Sailing low in the Lowlands, low in the sea,
Sailing low in the Lowlands low
The master said, I fear for my good ship Vanity,
Oh, I fear for my good ship, The Golden Vanity,
That she will be taken by the pirate Targalley,
As she sails in, etc.
2^2
‘Oh, master, good master, what will you give me
If I sink yon Targalley low in the sea?’
10 _stanzas_.
=d.=
1
A ship I have got in the North Country,
And she goes by the name of The Golden Vanity;
O I fear she’ll be taken by a Spanish Galalie,
As she sails by the Lowlands low.
8 _stanzas_.
=e.= Buchan; MSS, II, 390.
1
Our ship sailed to the North Country,
Sing, How the Lowlands lo[w]
Our ship sailed on to the North Countrie,
And the name o her was The Gold Pinnatree,
She was as fine a vessel as ever sailed the sea,
And she sails by the Lowlands lo[w]
2
We hadna sailed leagues but only three,
Till the captain from the maindeck fixed an ee;
He spied a lofty frigate was sailing closely tee,
And her name was The French Gallio.
3
Then out it speaks the pilot, by the mainyard did stand,
Says, O my pretty boys, we are all undone;
We must prepare to fight or be sunk to the sand,
For yonder comes the French gallio.
4
Then spoke the little cabin-boy, [where stood he,]
Said, O my loving master, what will ye gie me
And I will sink this proud Gallio in the sea,
And I will sink the French gallio?
5
‘I will gie you gold, boy, and I will gie you fee,
Besides a rarer gift that I will give thee;
Ye’se have my eldest daughter your wedded wife to be,
If ye will sink the French gallio.’
6
The boy bent his breast, and away swam he,
And took a bold venture thro the stormy sea,
And cam close by his enemy, as sly as he could be,
It was to sink the French gallio.
7
Some there were at cards, and some there were at dice,
But the little cabin-boy was at the best device,
He was sinking the French gallio in the sea,
He was sinking the French gallio.
8
This boy had a case o fine instruments,
He ca’d fifty holes, and drove them a’ at once,
And he soon sank the French gallio in the sea,
And he soon sank the French gallio.
9
Then the boy bent his breast, and back swam he,
Till that he cam to The Gold Pinnatree;
Says, Now, my loving master, what will ye gie me?
For I have sunk the French gallio.
10
‘Now give to me my gold, master, [give to me my fee,]
Or give to me the other rare gifts ye promised me;
It was your eldest daughter, my wedded wife to be;
For the sinking o the French gallio.’
11
‘Ye shall have no gold, boy, ye shall have no fee;
I wadna ware my daughter on ony such as thee;
For as you’ve done to her, boy, so wad you do to me,
By the sinking o the French [gallio].’
12
Then they put out their long-boat and catched him by the side,
And rowed him into ane auld cow’s-hide,
And tossed him overboard, to float on the tide,
For sinking the French gallio.
Gallio _may be surmised to be properly_ galley O.
_The other copy in Buchan’s MSS_, II, 414, _is only the foregoing a
little retouched or regulated_. _It has throughout_ Gallolee _for_
Gallio. _The first line of the burden is_, Sing, Low, the Lowlands low.
4^1. where stood he.
6^3. could dee.
10^1. give to me my fee.
=f.=
1
I spied a ship, and a ship was she,
Sing, Oh, the low and the Lowlands low
And she was called the Turkish Galley,
She was sailing in the Lowlands, low, low, low,
She was sailing in the Lowlands low.
2
‘Master, master, what wud ye gie me
Gin I wud sink yon Turkish galley?
She’s sailing, etc.’
3
‘I’ll gie you gold, I’ll gie you fee,
Gin ye wud sink yon Turkish galley,
That is sailing,’ etc.
4
He bent his breast, and awa swam he,
Till he cam to yon Turkish galley,
That’s sailing, etc.
5
He had an instrument, made for the use,
He bored nine holes in her water-sluice,
Left her sinking, etc.
6
Some took their hats, and some took their caps,
All for to stop her watery leaks.
She was sinking, etc.
7
They took him up by their ship-side,
They sewed him in an auld cow’s-hide,
Left him sinking, etc.
_Motherwell sent this copy to C. K. Sharpe in a letter dated October
8, 1825, in which he says_: I also send rather a curious song, which
perchance you may have seen, entitled ‘The Turkish Galley,’ the air of
which pleased me much. But as I learn there are two other different
sets of the words more complete than my copy, and with different airs,
I shall defer sending the musick till I can send also that which
belongs to the other copies.
=g.=
1
There was a ship of the North Countrie,
And the name of the ship was The Golden Trinitie.
She was sailing in the Lowlands low, low, low,
She was sailing in the Lowlands low.
2
. . . . . . . . . .
And the name of the ship was The Turkish Gallee,
And she was sailing in the Lowlands low, low, low,
She was sailing, etc.
3
‘O captain, O captain,’ said the young cabin-boy,
‘What will you give me if yon ship I do destroy?
And sink her in,’ etc.
4
‘I’ll give you gold, and I’ll give you fee,
And my eldest daughter your wedded wife shall be,
If you sink her in,’ etc.
5
The boy bent his bow, and away swam he,
Until that he came to the Turkish gallee.
She was sailing in, etc.
6
The boy had an auger, right fitted for the use,
And into her bottom he bored a watery sluice.
She is sinking in, etc.
7
The boy bent his bow, and back swam he,
Until that he came to the Golden Trinitie.
She is sailing in, etc.
8
‘O captain, O captain, take me on board,
And O be as good, as good as your word,
For I’ve sunk her in the Lowlands low, low, low,
I’ve sunk,’ etc.
9
They threw him a rope oer the larboard side,
And sewed him up in an auld cow’s-hide,
And threw him out to a fair wind and tide,
And sunk him in, etc.
FOOTNOTES:
[102] Scott says at the end, “I will not swear to the accuracy of the
above.”
287
CAPTAIN WARD AND THE RAINBOW
Bagford Ballads, I, 65.
Other black-letter copies are Pepys, IV, 202, No 195; Roxburghe,
III, 56; Euing, No 108; British Museum, 112. f. 44 (19). This copy
is printed in Halliwell’s Early Naval Ballads, p. 59, Bell’s Early
Ballads, p. 167, Ebsworth’s Roxburghe Ballads, VI, 426.
There are Aldermary Churchyard copies, as Roxburghe Ballads, III,
652, 861; Scottish stall-copies, as Greenock, W. Scott, Stirling, M.
Randall; English, by Pitts, Seven Dials, one of which is printed in
Logan’s Pedlar’s Pack, p. 1.
A copy in Buchan’s MSS, II, 245, is nearly the old broadside; another,
II, 417, is the stall-copy. Kinloch, MSS, V, 109, II, 265, has the
stall-copy from oral transmission (with Weir for Ward). Rev. S.
Baring-Gould has recently taken down this ballad (much changed by
tradition) in the west of England.
Captain Ward, a famous rover, wishes to make his peace with the king,
and offers thirty ton of gold as “ransom” for himself and his men. The
king will not trust a man who has proved false to France and to Spain,
and sends the Rainbow, with five hundred men, against Ward. The Rainbow
has easy work with Dutch, Spaniards, and French, but her fifty brass
pieces have no effect on Ward; though the Rainbow is brass without, he
is steel within, 8^2 (suggested by ‘Sir Andrew Barton,’ =A= 27^1, =B=
25^1, ‘He is brass within and steel without).’ The Rainbow retires,
and reports to the king that Ward is too strong to be taken. The king
laments that he has lost three captains, any one of whom would have
brought Ward in: George Clifford, Earl of Cumberland, †1605, Charles
Blount, Lord Mountjoy, †1606 (both of whom had a part in the defeat of
the Armada), and Robert Devereux, Earl of Essex, †1601.
The Rainbow was the name of one of Drake’s four ships in his expedition
against Cadiz in 1587. The Rainbow is mentioned very often from 1589;
as in The Manuscripts of the Earl Cowper, vol. i, Hist. MSS Commission,
XIIth Report, Appendix, Part I; Index in Part III of the same, p. 296.
John Ward, an Englishman of Kent, is said to have commenced ‘rover’
about 1604, by inducing the crew of a king’s ship in which he had some
place to turn pirates under his command. His race, though eventful,
was, naturally enough, not long. He seems not to be heard of after
1609, in which year Ward and his colleague, Dansekar, are spoken of as
the “two late famous pirates.” See Mr Ebsworth’s preface to the ballad,
VI, 423 ff., founded on Andrew Barker’s book about Ward and Dansekar,
published in the year last named.
Two other ballad-histories, ‘The Seamen’s Song of Captain Ward’ and
‘The Seamen’s Song of Dansekar’ (i. e. Dansekar and Ward), entered in
the Stationers’ Registers July 3, 1609, are given by Mr Ebsworth, VI,
784, 423.
1
Strike up, you lusty gallants, with musick and sound of drum,
For we have descryed a rover, upon the sea is come;
His name is Captain Ward, right well it doth appear,
There has not been such a rover found out this thousand year.
2
For he hath sent unto our king, the sixth of January,
Desiring that he might come in, with all his company:
‘And if your king will let me come till I my tale have told,
I will bestow for my ransome full thirty tun of gold.’
3
‘O nay! O nay!’ then said our king, ‘O nay! this may not be,
To yield to such a rover my self will not agree;
He hath deceivd the French-man, likewise the King of Spain,
And how can he be true to me that hath been false to twain?’
4
With that our king provided a ship of worthy fame,
Rainbow she is called, if you would know her name;
Now the gallant Rainbow she rowes upon the sea,
Five hundred gallant seamen to bear her company.
5
The Dutch-man and the Spaniard she made them for to flye,
Also the bonny French-man, as she met him on the sea:
When as this gallant Rainbow did come where Ward did lye,
‘Where is the captain of this ship?’ this gallant Rainbow did cry.
6
‘O that am I,’ says Captain Ward, ‘there’s no man bids me lye,
And if thou art the king’s fair ship, thou art welcome unto me:’
‘I’le tell thee what,’ says Rainbow, ‘our king is in great grief
That thou shouldst lye upon the sea and play the arrant thief,
7
‘And will not let our merchants ships pass as they did before;
Such tydings to our king is come, which grieves his heart full sore.’
With that this gallant Rainbow she shot, out of her pride,
Full fifty gallant brass pieces, charged on every side.
8
And yet these gallant shooters prevailed not a pin,
Though they were brass on the out-side, brave Ward was steel within;
‘Shoot on, shoot on,’ says Captain Ward, ‘your sport well pleaseth me,
And he that first gives over shall yield unto the sea.
9
‘I never wrongd an English ship, but Turk and King of Spain,
For and the jovial Dutch-man as I met on the main.
If I had known your king but one two years before,
I would have savd brave Essex life, whose death did grieve me sore.
10
‘Go tell the King of England, go tell him thus from me,
If he reign king of all the land, I will reign king at sea.’
With that the gallant Rainbow shot, and shot, and shot in vain,
And left the rover’s company, and returnd home again.
11
‘Our royal king of England, your ship’s returnd again,
For Ward’s ship is so strong it never will be tane:’
‘O everlasting!’ says our king, ‘I have lost jewels three,
Which would have gone unto the seas and brought proud Ward to me.
12
‘The first was Lord Clifford, Earl of Cumberland;
The second was the Lord Mountjoy, as you shall understand;
The third was brave Essex, from field would never flee;
Which would a gone unto the seas and brought proud Ward to me.’
* * * * *
The Famous Sea-Fight between Captain Ward and the Rainbow. To the tune
of Captain Ward, etc. Licensed and entered.
London, Printed by and for W. Onley, and are to be sold by the
Booksellers of Pye-corner and London-bridge. _Dated at the British
Museum 1680 at the earliest._
11^3. Everlasting shame, _in the Scottish stall-copies_.
_A collation of Roxburghe_, III, 56, _shows only variations too
trivial to note_.
288
THE YOUNG EARL OF ESSEX’S VICTORY OVER THE EMPEROR OF GERMANY
=A.= ‘Queen Elizabeth’s Champion, or, Great Britain’s Glory,’ etc.
=a.= Douce Ballads, III, fol. 80 b. =b.= Roxburghe, III, 416, in
Ebsworth’s Roxburghe Ballads, VI, 405.
=B.= ‘Earl of Essex’, Kinloch MSS, I, 113.
=A= is printed also in Evans’s Old Ballads, 1777, II, 110, with slight
variations from both Douce and Roxburghe.
No printer’s name is given in either copy of =A=. From the use of a
peculiar ornament between the columns in =a= (and perhaps in =b=), such
as occurs in ballads printed at Newcastle-upon-Tyne, by John White, the
broadside may plausibly be attributed to him. White died in 1769.
=A.= Queen Elizabeth fits out a powerful fleet to go in search of
a vast navy under command of the emperor of Germany. The fleets
sight each other after a week or ten days. The emperor, amazed at
the splendid show made by the English, asks his officers who this
can be that is sailing toward him, and is told that it is the young
Earl (third earl) of Essex, the queen’s lieutenant. The emperor has
heard enough of the father to make him fear a fight with the son, and
proposes to tack and sail away; but the son asks his father to put the
ships into his hands and let him fight with Essex. The emperor consents
with a warning; if the young Essex shall prove like his father,
farewell to their honor. Young Essex takes the emperor’s son prisoner;
the emperor offers as a ransom three keys of gold, one of which shall
be the key of High Germany. Essex cares not for the three keys; the
emperor’s son must go to England and be exhibited to the queen. The
emperor declares that, if it must be so, his fifty good ships shall go
as well for company.
All this is, no doubt, as foolish as it is fictitious, but the
ballad-maker’s independence, in fact unconsciousness, of history and
common sense, beginning with the title, in which young Essex is made
Queen Elizabeth’s champion, is amusing and not unpleasing. The ballad
belongs undoubtedly to the eighteenth century, when High Germany had
become familiar to the humble English.
=B.= The traditional copy begins with a prologue of half a dozen
stanzas in the form of a colloquy between Billy, who is to be of the
expedition, and Nelly, his sweetheart. This prologue must be derived
from some other ballad or song. Nelly reminds her lover of the fate of
old Benbow, who lost at least one of his legs in a fight with a French
fleet in 1702, and died of the consequences, and of that of “proud
Shawfield, that honoured knight,” under which name is disguised Sir
Cloudesley Shovell, “who came with his navy to the Spanish shore” in
1705, and whose ship went on the rocks off the Scilly Isles (‘Salem’),
and sank with all on board, some eight hundred men, in 1707. We then
make connection with the broadside.
A
=a.= Douce Ballads, III, fol. 80 b. =b.= Roxburghe, III, 416, in
Ebsworth’s Roxburghe Ballads, VI, 405.
1
Come, sound up your trumpets and beat up your drums,
And let’s go to sea with a valiant good cheer,
In search of a mighty vast navy of ships,
The like has not been for these fifty long year.
Raderer two, tandaro te,
Raderer, tandorer, tan do re.
2
The queen she provided a navy of ships,
With sweet flying streamers, so glorious to see,
Rich top and top-gallants, captains and lieutenants,
Some forty, some fifty, brass-pieces and three.
3
They had not saild past a week on the seas,
Not passing a week and days two or three,
But they were aware of the proud emperor,
Both him and all his proud company.
4
When he beheld our powerful fleet,
Sailing along in their glory and pride,
He was amazed at their valour and fame,
Then to his warlike command[er]s he cry’d.
5
These were the words of the old emperor:
Pray who is this that is sailing to me?
If he be king that weareth a crown,
Yet I am a better man than he.
6
‘It is not a king, nor lord of a crown,
Which now to the seas with his navy is come,
But the young Earl of Essex, the Queen’s lieutenant,
Who fears no foes in Christendom.’
7
‘Oh! is that lord then come to the seas?
Let us tack about and be steering away;
I have heard so much of his father before
That I will not fight with young Essex today.’
8
O then bespoke the emperor’s son,
As they were tacking and steering away,
‘Give me, royal father, this navy of s[h]ips,
And I will go fight with Essex today.’
9
‘Take them with all my heart, loving son,
Most of them are of a capital size;
But should he do as his father has done,
Farewel thine honour and mine likewise.’
10
With cannons hot and thundering shot,
These two gallants fought on the main,
And as it was young Essex’s lot,
The emperor’s son by him was taen.
11
‘Give me my son,’ the emperor cry’d,
‘Who you this day have taken from me,
And I’ll give to the[e] three keys of gold,
The one shall be of High Germany.’
12
‘I care not for thy three keys of gold,
Which thou hast profferd to set him free,
But thy son he shall to England sail,
And go before the queen with me.’
13
‘Then have I fifty good ships of the best,
As good as ever were sent to the sea,
And eer my son into England sail,
They shall go all for good company.’
14
They had not fought this famous battle,
They had not fought it hours three,
But some lost legs, and some lost arms,
And some lay tumbling in the sea.
15
Essex he got this battle likewise,
Tho’t was the hotest that ever was seen;
Home he returnd with a wonderful prize,
And brought the emperor’s son to the queen.
16
O then bespoke the prentices all,
Living in London, both proper and tall,
In a kind letter, sent straight to the queen,
For Essex’s sake they would fight all.
B
Kinloch MSS, I, 113. From Mary Barr, June, 1827.
1
‘’Tis, old England, old England, I bid thee adieu,
The drums and the trumpets command me frae shore;
And you lusty fellows, both valiant and true,
Will you venture with me where loud cannons roar?’
2
‘O Billy, O Billy, talk not of the seas,
But stay at home with me on the shore;
I’ll do my endeavour thy fancy to please,
And there’s others to go where loud cannons roar.’
3
‘O Nelly, O Nelly, I must to the seas,
For there is no gold to be had upon shore;
There’s honour, and gold, and riches likewise,
To the man that doth die where loud cannons roar.’
4
‘Remember the winds, love, remember the waves,
Remember the dangers that are upon seas;
Remember there is neither coffin nor grave
To the man that doth die where loud cannons roar.’
5
‘Remember old Benbow, and think on his blows;
Remember the dangers he felt upon seas;
He lost both his legs by one shot of his foes;
He lost his sweet life, yet his honour’s the more.’
6
‘Remember proud Shawfield, that honoured knight,
Who came with his navy to the Spanish shore;
At the rock of Salem his life took a flight,
And with him there died some hundreds more.’
7
‘Our queen she has builded a navy of ships,
And they are arrayed all right gloriously;
With top and top-gallant, with captain, lieutenant,
Some fifty, some sixty, brass pieces and three.’
8
‘Well, since you’ll go, may my blessing advance,
And carry you safely from Flanders to Spain;
And when you’ve conquered that tyrant in France,
Then my blessing return you to old England again.’
9
They had not sailed one hour upon sea,
Not one hour passing days two or three,
Till up came the bold emperour,
The bold emperour of High Germanie.
10
‘O who is this?’ the bold emperour cries,
‘Who is this that comes sailing to me?
I’m sure he’s a knight, or a king of crown,
Or I’m sure I am a far better fellow than he.’
11
‘I am neither a knight, nor a king of a crown,
But here, with my navy, on board I am come;
For I am Lord Essex, the Queen’s lieutenant,
Who never feard foe in all Christendom.’
12
Out and spoke the bold emperour’s son,
All as they were mounting and hyeing away;
‘O father, lend me your navy of ships,
And I’ll go fight with Lord Essex today.’
13
‘O son, I’ll lend thee my navy of ships,
And they are all of a capable size;
But if he be as good as his old father was,
Adieu to your honour, and mine likewise.’
14
O they have fought on at a terrible rate,
Until it drew nigh to the cool of the day,
And as it fell in young Essex’s lot,
The bold emperour’s son he’s taen prisoner away.
15
‘O give me my son,’ the bold emperour cried,
‘O give me my son thou hast taken from me,
And you shall have three keys of gold,
And one of them opens High Germanie.’
16
‘What value I thy three keys of gold,
Or any proud offer thou canst give to me?
For up to old England thy son he must go,
And stand before our queen’s high majesty.’
17
‘’T is I have fifteen ships of the best,
And other fifteen distant on sea;
Since up to old England my son he must go,
Then we’ll all go together for good companie.’
=A.= =a.=
Queen Elizabeth’s Champion, or, Great Britain’s Glory, Being a victory
obtained by the young Earl of Essex over the old emperor of Germany by
a fight at sea in which he took the emperor’s son and brought him a
prisoner to Queen Elizabeth.
=b.=
_omits_ Being _after_ Glory _and_ a _before_ prisoner.
=a.=
_Burden_ ran do re _in second line after stanza_ 1. tandato _in first
line after stanza_ 2. Rederer, _after_ 7. Raderer two _for_ Raderer
_in second line after_ 9.
1^4. years.
8^1. Oh.
=b.=
1^2. gallant good.
1^4. for this.
4^4. commanders.
5^2. Praying.
5^3. be a.
14^2. hours but.
289
THE MERMAID
=A.= ‘The Seamen’s Distress,’ the second piece in The Glasgow Lasses
Garland, British Museum, 11621. c. 3 (68). “Newcastle, 1765?”
=B. a.= ‘The stormy winds do blow,’ Chappell’s Popular Music of the
Olden Time, p. 742. =b.= The same, p. 743. =c.= Notes and Queries, 6th
Series, VII, 276.
=C.= Communicated by Mr Chappell. Now printed in Old English Ditties,
Oxenford and Macfarren, ‘The Mermaid,’ I, 206.
=D.= ‘The Mermaid.’ =a.= Long, Dictionary of the Isle of Wight
Dialect, 1886, p. 42. =b.= Broadside, H. Such, 177 Union St., Boro’.
=E. a.= Motherwell’s MS., p. 145. =b.= ‘The Bonnie Mermaid,’
Motherwell’s Minstrelsy, Appendix, p. xxiii, No XXX, one stanza.
=F.= ‘Greenland,’ Kinloch MSS, VII, 245.
This is the ballad referred to under ‘Sir Patrick Spens,’ II, 19. It is
still common as a broadside.
=E a= 6 has taken a burlesque turn. It is scarcely worth while to
attempt to account for the vagaries of =F=, in which ‘the kemp o the
ship’ takes the place of the mermaid, and the kaim and glass are
exchanged for the bottle and glass. The first stanza of =F= may not
belong here, or possibly (but not probably) a voyage to Greenland may
have been lost from the other copies.
In =B=, =C=, =D=, the ship sails on Friday, against all good rules.
‘The Sailor’s Caution,’ the third piece in The Sailing Trade, Glasgow,
Printed by J. and M. Robertson, Saltmarket, 1801, begins like =A=, has
a stanza (the fifth) representing =A= 4, 5, and concludes thus, after a
stanza (the sixth) resembling =A= 3:
The mermaid on the rock doth sit,
With comb and glass in hand:
‘Cheer up, cheer up, bold mariners,
You are not far from land.
‘So now cheer up, bold mariners,
Or smother in the deep;
All this I do for a sailor’s sake,
Whilst losing of my sleep.
‘Here is a token, bold mariners,
A token of good will,
And if ever that you come this way,
’Tis here you’ll find me still.’
British Museum, 11621. b. 13 (15).
A
The Glasgow Lasses Garland, the second piece, British Museum, 11621.
c. 3 (68). “Newcastle, 1765?”
1
As we lay musing in our beds,
So well and so warm at ease,
I thought upon those lodging-beds
Poor seamen have at seas.
2
Last Easter day, in the morning fair,
We was not far from land,
Where we spied a mermaid on the rock,
With comb and glass in hand.
3
The first came up the mate of our ship,
With lead and line in hand,
To sound and see how deep we was
From any rock or sand.
4
The next came up the boatswain of our ship,
With courage stout and bold:
‘Stand fast, stand fast, my brave lively lads,
Stand fast, my brave hearts of gold!’
5
Our gallant ship is gone to wreck,
Which was so lately trimmd;
The raging seas has sprung a leak,
And the salt water does run in.
6
Our gold and silver, and all our cloths,
And all that ever we had,
We forced was to heave them overboard,
Thinking our lives to save.
7
In all, the number that was on board
Was five hundred and sixty-four,
And all that ever came alive on shore
There was but poor ninety-five.
8
The first bespoke the captain of our ship,
And a well-spoke man was he;
‘I have a wife in fair Plymouth town,
And a widow I fear she must be.’
9
The next bespoke the mate of our ship,
And a well-bespoke man was he;
‘I have a wife in fair Portsmouth,
And a widow I fear she must be.’
10
The next bespoke the boatswain of our ship,
And a well-bespoke man was he;
‘I have a wife in fair Exeter,
And a widow I fear she must be.’
11
The next bespoke the little cabbin-boy,
And a well-bespoke boy was he;
‘I am as sorry for my mother dear
As you are for your wives all three.
12
‘Last night, when the moon shin’d bright,
My mother had sons five,
But now she may look in the salt seas
And find but one alive.’
13
‘Call a boat, call a boat, you little Plymouth boys,
Don’t you hear how the trumpet[s] sound?
[For] the want of our boat our gallant ship is lost,
And the most of our merry men is drownd.’
14
Whilst the raging seas do roar,
And the lofty winds do blow,
And we poor seamen do lie on the top,
Whilst the landmen lies below.
B
=a.= Chappell’s Popular Music of the Olden Time, p. 742. =b.= The
same, p. 743, one stanza and the burden, contributed by Mr Charles
Sloman, in 1840. =c.= Notes and Queries, 6th Series, VII, 276,
communicated from memory by Mr Thomas Bayne, Helensburgh, N. B.,
stanzas 1, 6.
1
One Friday morn when we set sail,
Not very far from land,
We there did espy a fair pretty maid
With a comb and a glass in her hand, her hand, her hand,
With a comb and a glass in her hand.
While the raging seas did roar,
And the stormy winds did blow,
While we jolly sailor-boys were up into the top,
And the land-lubbers lying down below, below, below,
And the land-lubbers lying down below.
2
Then up starts the captain of our gallant ship,
And a brave young man was he:
‘I’ve a wife and a child in fair Bristol town,
But a widow I fear she will be.’
For the raging seas, etc.
3
Then up starts the mate of our gallant ship,
And a bold young man was he:
‘Oh! I have a wife in fair Portsmouth town,
But a widow I fear she will be.’
For the raging seas, etc.
4
Then up starts the cook of our gallant ship,
And a gruff old soul was he:
‘Oh! I have a wife in fair Plymouth town,
But a widow I fear she will be.’
5
And then up spoke the little cabin-boy,
And a pretty little boy was he;
‘Oh! I am more grievd for my daddy and my mammy
Than you for your wives all three.’
6
Then three times round went our gallant ship,
And three times round went she;
For the want of a life-boat they all went down,
And she sank to the bottom of the sea.
C
Communicated by Mr W. Chappell, as noted down by him from the singing
of men dressed as sailors, on Tower Hill. Subsequently printed, with a
few variations, in Old English Ditties, Oxenford and Macfarren, I, 206.
1
One Friday morn as we’d set sail,
And our ship not far from land,
We there did espy a fair mermaid,
With a comb and a glass in her hand, her hand, her hand,
With a comb and a glass in her hand.
While the raging seas did roar,
And the stormy winds did blow,
And we jolly sailor-boys were up, up aloft,
And the landsmen were lying down below,
And the landlubbers all down below, below, below,
And the landlubbers all down below.
2
Then up spoke the captain of our gallant ship,
Who at once did our peril see;
I have married a wife in fair London town,
And tonight she a widow will be.’
3
And then up spoke the litel cabin-boy,
And a fair-haired boy was he;
‘I’ve a father and mother in fair Portsmouth town,
And this night she will weep for me.’
4
Now three times round goes our gallant ship,
And three times round went she;
For the want of a life-boat they all were drownd,
As she went to the bottom of the sea.
D
=a.= Long, A Dictionary of the Isle of Wight Dialect, London, 1886, p.
142. =b.= H. Such, 177 Union St., Boro’.
1
’Twas a Friday morning when we set sail,
And our ship was not far from land,
When there we spied a fair pretty maid,
With a comb and a glass in her hand.
Oh, the raging seas they did roar,
And the stormy winds they did blow,
While we poor sailor-boys were all up aloft,
And the land-lubbers lying down below, below, below,
And the land-lubbers lying down below.
2
Then up spoke the captain of our gallant ship,
And a mariner good was he;
‘I have married a wife in fair London town,
And this night a widow she will be.’
3
Then up spoke the cabin-boy of our gallant ship,
And a brave little boy was he;
‘I’ve a father and a mother in old Portsmouth town,
And this night they will both weep for me.’
4
Then up spoke a seaman of our gallant ship,
And a well-spoken man was he;
‘For want of a long-boat we shall all be drowned,
And shall sink to the bottom of the sea.’
5
Then three times round went that gallant ship,
And down like a stone sank she;
The moon shone bright, and the stars gave their light,
But they were all at the bottom of the sea.
E
=a.= Motherwell’s MS., p. 145. =b.= Motherwell’s Minstrelsy, Appendix,
p. xxiii, No XXX, the first stanza.
1
Up and spoke the bonny mermaid,
Wi the comb and the glass in her hand;
Says, Cheer up your hearts, my mariners all,
You are not very far from the land.
And the raging seas do foam, foam,
And the stormy winds do blow,
While we poor sailors must mount to the top,
When the landsmen they lye low.
2
Out and spoke the captain of our ship,
And a fine little man was he;
‘O I’ve a wife in fair London town,
And a widow this night she shall be.’
3
Out and spoke the mate of our ship,
And a tight little man was he;
‘O I’ve a wife in Dublin city,
And a widow this night she shall be.’
4
Out and spoke our second mate,
And a clever little man was he;
‘Oh I have a wife in Greenock town,
And a widow this night she shall be.’
5
Out and spoke our little prentice boy,
And a fine little boy was he;
‘Oh I am sorry for my mother,’ he said,
‘As you are for your wives all three.’
6
Out and spoke the cook of our ship,
And a rusty old dog was he;
Says, I am as sorry for my pats and my pans
As you are for your wives all three.
F
Kinloch MSS, VII, 245. From the recitation of a little boy from
Glasgow, who sang it in Grove St., Edinburgh, July, 1826.
1
Greenland, Greenland, is a bonny, bonny place,
Whare there’s neither grief nor flowr,
Whare there’s neither grief nor tier to be seen,
But hills and frost and snow.
2
Up starts the kemp o the ship,
Wi a psalm-book in his hand:
‘Swoom away, swoom away, my merry old boys,
For you’ll never see dry land.’
3
Up starts the gaucy cook,
And a weil gaucy cook was he;
‘I wad na gie aw my pans and my kettles
For aw the lords in the sea.’
4
Up starts the kemp o the ship,
Wi a bottle and a glass intil his hand;
‘Swoom away, swoom away, my merry old sailors,
For you’ll never see dry land.’
5
O the raging seas they row, row, row,
The stormy winds do blow,
As sune as he had gane up to the tap,
As. .. .. low.
* * * * *
=A.=
6^2. _Qy_, that ever we did have?
7^{3,4}.
_Qy_, And in all, there was but poor ninety-five
That ever came alive on shore.?
14^1. Whilst we in the raging seas do blow.
14^2. And there lofty minds.
=B. b.=
2^1. Then up spoke.
2^{3,4}.
I have sixty gallant seamen aboard of my ship,
But none half so gallant as he, as he, as he,
But there’s none half so gallant as he.
_Burden_:
While the vivid lightnings flash,
And the stormy winds do blow,
While we poor seamen are up, up aloft,
And the landsmen are all down below, below, below,
And the landsmen are all down below.
=c.=
1^2. And our ship not far.
6^3. we all.
6^4. And sank.
=C.=
1^3. _Var._, a fair pretty maid.
_In_ Old English Ditties, _etc._ (_perhaps Oxenford’s changes_):
1^1. when we set.
1^3. a fair pretty maid.
2^4. this night.
3^4. they will.
4^1. Then three times round went.
4^3. they both went down.
4^4. As she sunk to.
_Burden_:
4. And the land-lubbers lying down below, below, below.
5. And the landsmen were all down below.
_6. Wanting._
=D. b.=
1
On Friday morning as we set sail,
It was not far from land,
O there I espy’d a fair pretty girl,
With the comb and the glass in her hand.
O the stormy winds they did blow,
And the raging seas did roar,
While we poor sailors go up to the top,
And the land-lubbers lie down below.
2
Then up spoke a boy of our gallant ship,
And a well-spoken boy was he;
‘I’ve a father and mother in fair Portsmouth town,
And this night they will weep for me.’
3
Then up spoke a man of our gallant ship,
And a well-spoken man was he;
‘I have married a wife in fair London town,
And this night a widow she shall be.’
4
Then up spoke the captain of our gallant ship,
And a valiant man was he;
‘For want of a long-boat we shall all be drowned,’
So she sunk to the bottom of the sea.
5
The moon shone bright, and the stars gave light,
And my mother is looking for me;
She might look, she might weep, with watery eyes,
She might look to the bottom of the sea.
_A broadside by Birt, otherwise like Such’s, adds_:
Three times round went our gallant ship,
And three times round went she;
Three times round went our gallant ship,
Then she sunk to the bottom of the sea.
British Museum, 11621. k. 5 (167).
=E. b.=
1
O up and spak the bonnie mermaid,
Wi the glass and the kaim in her hand;
‘Reek about, reek about, ye mariners all,
For ye’re not very far from the land.’
=F.=
3^2. was she.
290
THE WYLIE WIFE OF THE HIE TOUN HIE
=A.= ‘My lady ye shall be,’ “Scotch Ballads, Materials for Border
Minstrelsy,” Thomas Wilkie’s MS., p. 74, Abbotsford.
=B.= John Struthers, The British Minstrel, 1821, I, XXV.
=C.= ‘The Bonnie Lass o the Hie Toun End.’ Communicated by Mr David
Louden, of Morham, Haddington, 1873.
=D.= ‘The Flowers of Edinburgh,’ Gibb MS., No 14, p. 57.
This ballad, which Motherwell pronounces to be “of some antiquity and
of considerable popularity,” is of the same pernicious tenor as ‘The
Broom o Cowdenknows,’ with the aggravation of treachery. The dénoûment
is similar in ‘The Dainty Downby,’ Herd’s MSS, I, 45, printed in his
Scottish Songs, 1776, II, 232, ‘The Laird o the Dainty Downby,’ Kinloch
MSS, V, 145, and in ‘The Laird o Keltie,’ Kinloch MSS, I, 363, ‘The
Young Laird o Keltie,’ III, 107, Motherwell MS., p. 21, both of one
pattern, and that quite trashy.
A
“Scotch Ballads, Materials for Border Minstrelsy,” No 72, Thomas
Wilkie’s MS., 1813-15, p. 74, Abbotsford; taken down from the
recitation of a female friend, who sang it to a lively air.
1
It fell about the Martinmas,
When the gentlemen were drinking there wine,
And a’ the discourse that they had
Was about the ladies they gude fine.
2
It’s up an spake a tall young man,
The tallest o the companie;
‘The bonniest lass that I ken off
She lives into the hee toun hee.
3
‘O I would give a guinea of gold,
A guinea and a pint of wine,
I would give it to the hostler’s wife,
For to wile that bonny lassie in.’
4
The hostler’s wife gaed down the stair,
And she’s looked hersell round near by,
And there she spied the bonny handsom girl,
Coming walking down the hee town high.
5
‘Come in, come in, my bonny handsom girl,
Come speak one word with me;
Come taste a little of our wine,
For it’s new come out of Italie.’
6
So willillie she wil’d her up,
And so willillie she wil’d her in,
And so cunningly she’s locked the door,
And she’s comd down the stair again.
7
One of them took her by the milk-white hand,
And he’s laid her body on the ground,
And aye she sightd, and said, Alass,
’Tis a sin to do me wrong!
8
‘But since ye hae done sae muckle to me,
And brought me to so muckle shame,
O wad ye be so kind to me
As to tell to me your name.’
9
‘O if I tell to you my name,
It’s a thing I never did to none;
But I will tell to the, my dear;
I am the Earl of Beaton’s son.’
10
When two years were past and gone,
This gentleman came walking by,
And there he spied the bonny handsome girl,
Coming walking down the hie town high.
11
‘To whom belongs that pretty child,
That blinks with its pretty eye?’
‘His father’s from home and has left me alone,
And I have been at the fold milking my ky.’
12
‘You lie, you lie, my bonny handsome girl,
So loudlie I hear you lie;
O do not you mind that happie day
When ye was drinking the wine wi me?’
13
He’s lighted off his milk-white steed,
He’s kissd her both cheeck and chin;
He’s made a’ the servants in Beaton castle
To welcome this fair lady in.
B
Struthers’s British Minstrel, I, XXV., from recitation.
1
It fell about the Martinmas time,
When the nobles were drinking wine,
And the matter of their discourse it was,
‘O the ladies they go fine:’
2
Up then spake a brave gentleman,
The best in the companie;
‘The bonniest lass that eer I saw,
She dwells in the hie town hie.
3
‘I wad give a guinea of red gold,
Sae wad I a pint of wine,
To onie of the hostler-wives
That wad wyle to me the bonnie lassie in.’
4
Up then spake the hostler’s wife,
And an ill death may she die!
‘An ye’ll gie me a guinea of gold,
I will wyle the bonnie lassie in to thee.’
5
The hostler’s wife stood on the stair-head,
To see what she could see,
And there she saw this fair creature,
Coming down frae the hie town hie.
6
‘Come in, come in, my bonnie, bonnie lass,
Come in and speak with me;
Come in and drink a glass of wine,
That’s new come aff the raging sea.’
7
‘My father’s out upon the plain,
And I am waiting his incoming;
And I’m a girl so neat and trim
That I’m afraid of your merry men.’
8
‘My merry men are all gone out,
And they will not be in till nine,
And, if ye would my favour win,
Come in and drink a glass of wine.’
9
Sae cunningly she wyld her in,
And sae cunningly she led her round,
Till she wyld her to the room where he was,
And she locked the door the bonnie lass behind.
10
First he kissd her cherry cheeks,
And than he kissd her cherry chin,
And than he kissd her ruby lips,
Saying, Indeed ye’re a weel-faurd thing.
* * * * * * * *
11
‘O since ye’ve got your will o me,
And brought me unto public shame,
I pray, kind sir, ye’ll marry me,
Or that ye’ll tell me what’s your name.’
12
‘If I tell my name to you, bonnie lassie,
It’s mair than ever I telld ane;
But I will tell to you, bonnie lassie;
I am an earl’s second son.
13
‘I am an earl’s second son,
My father has more children than me;
My eldest brother he heirs the land,
And my father he sent me to the sea.’
14
He put his hand into his pocket,
And he gave her sixty guineas and three,
Saying, Fare thee weel, my lovely young creature,
Ye’ll never get mair of me.
15
As she went down through Edinburgh streets,
The bonnie bells as they did ring,
‘Farewell, fareweel, my bonnie, bonnie lassie,
Ye’ve got the clod that winna cling.’
* * * * * * * *
16
He hadna been ae week at the sea,
Not a week but only five,
Till the king made him a captain sae brave,
And he made the bonnie lassie his wife.
C
Communicated, February, 1873, by Mr David Louden, of Morham,
Haddington, as recited by Mrs Richard Dodds, Morham, Loanhead, “aged
over seventy.”
1
In Edinburgh, on a summer evening,
Our gentlemen sat drinking wine,
And every one to the window went,
To view the ladies, they went so fine.
2
They drank the wine, and they spilt the beer,
So merrily as the reel went round,
And a’ the healths that was drucken there
Was to the bonnie lass o the hie toun end.
3
Up then spoke a young squire’s son,
And as he spoke it all alone;
‘Oh, I would give a guinea of gold,
And so would I a pint of wine,
And I would make them their licence free
That would welcome this bonnie lassie in.’
4
The ostler’s wife, on hearin this,
So nimbly down the stairs she ran,
And the first toun’s-body that she met
Was the bonnie lass o the hie toun end.
5
‘Mistress, ye maun gang wi me
And get a cup o oor claret wine;
It’s new come oer the ragin sea,
Awat it is baith gude and fine.’
6
‘To gang wi you I daurna stay,
My mither’s wearyin for me in;
I am so beautiful and fine
I am a prey to all young men.’
7
Wi sattin slippers on her feet,
So nimbly up the stair she ran,
And wha so ready as this young squire
To welcome the bonny lassie in.
8
He[’s] taen her by the milk-white hand,
He’s gently led her through the room,
And aye she sighed, and aye she said,
It would be a pity to do me wrong.
9
‘Now, since you’ve taken your will o me,
I pray, kind sir, tell me your name;’
‘Oh yes, my dear, indeed,’ he said
‘But it’s more than I ever did to one.
10
‘I am a squire and a squire’s son,
My faither has fifty ploughs o land,
And I’m a man in the militrie,
And I must away and rank up my men.
11
‘And Jamie Lumsdaine is my name,
From the North Countrie, love, I really came.’
12
About a twelvemonth after that,
He sent a letter owre the main,
And muckle writin was therein,
To the bonnie lass o the hie toun end.
13
About a twelvemonth after that,
He himsel cam owre the main;
He made her Duchess o Douglas Dale,
And to him she’s had a fine young son.
D
Gibb MS., No 14, p. 57. From the recitation of Eppie Fraser, daughter
of a tramp, and unable to read, about 1840.
1
All the soldiers in Edinburgh town
Were sitting drinking at the wine,
An all the toasts that were among them
Was a health to the lassie that goes sae fine.
2
Up then spake an officier,
The bravest in the company;
‘To every one I will give a guinea,
A guinea and a pint of wine,
To the ostler’s wife I wald double it a’,
If she’d entice that young lassie in.’
3
The old wife tripped down the stair,
And aye she said, ‘A good morrow, dame!’
And aye she said, an the maid replied,
‘What is your will wi me, madam?’
4
‘It’s not to do you any harm,
Or yet your body any ill,
But, if you would my favour gain,
Come up an taste one glass of wine.’
5
‘My father stands on the stair-head,
Just lookin for me to come in;
I am so proper and so tall
I’m much afraid of your merry men.’
6
‘My merry men, they are all gone out,
An they will not be in till dine;
So, if you would my favour gain,
Come up an taste a glass of wine.’
7
The fair maid tripped up the stair,
The old wife bolted the door behind;
He’s tane her in his arms twa,
Says, O but ye are a bonny thing!
8
Twenty times he kissed her cheek,
An twenty times her bonny chin,
An twenty times her ruby lips:
‘O but ye are a bonny thing!’
* * * * * * * *
9
‘Noo, since ye’ve got your wills o me,
What is your name, I pray you tell;
. . . . . . . .
. . . . where you dwell.’
10
. . . . . . . .
‘My eldest brother, he heirs the land;
I was forced to be a highwayman,
Or else a soldier, as I am.’
11
An aye the lassie she sat an grat,
An aye thae words spak them atween,
An aye the lassie she sat an grat,
And cursed the auld wife that brocht her in.
12
They had na been in Edinburgh
A month, a month but only nine,
When they have got the royal commission
For to march to Aberdeen.
13
An aye the lassie she sat an grat,
An aye thae words spak them atween,
An aye the lassie she sat an grat,
And cursed the auld wife that brocht her in.
14
They had na been in Aberdeen
A month, a month but only one,
When he got on the captain’s coat,
An made her lady o his land.
15
An aye the lassie she sat an sang,
An aye thae words spak them atween,
An aye the lassie she sat an sang,
An hersed the auld wife that brocht her in.
* * * * *
=A.=
1^4. _Qy_, gade?
3^1. _Written_ and af pint gold, _with_ pint _struck out (anticipation
of the next line)_.
5^4. now come.
=B.=
_Motherwell, Minstrelsy_, p. xci, _supplies, from a recited version,
after 15:_
Aye she sat, and aye she grat,
And kaimd her yellow hair,
And aye she cursd the hostler’s wife,
That wysit her in at the door.
_And after 16:_
Aye she sat, and aye she sang,
And kaimd her yellow hair,
And aye she blessd the hostler’s wife,
That wysit her in at the door.
_Compare_ =D= 13, 15.
291
CHILD OWLET
‘Childe Owlet,’ Buchan’s Ballads of the North of Scotland, I, 27;
Motherwell’s MS., p. 572.
Lady Erskine invites Child Owlet to be her paramour. Child Owlet
revolts at the suggestion; he is sister’s son to Lord Ronald. The lady
cuts herself with a penknife sufficiently to draw blood; Lord Ronald
hears her moaning, comes in, and asks what blood this is; his wife
gives him to understand that Child Owlet has offered her violence. A
council is held upon the case, and the youth is condemned to be torn by
four horses. There was not a twig or a rush on the moor that was not
dropping with his blood.
The chain of gold in the first stanza and the penknife below the bed
in the fourth have a false ring, and the story is of the tritest. The
ballad seems at best to be a late one, and is perhaps mere imitation,
but, for an imitation, the last two stanzas are unusually successful.
1
Lady Erskine sits in her chamber,
Sewing at her silken seam,
A chain of gold for Childe Owlet,
As he goes out and in.
2
But it fell ance upon a day
She unto him did say,
Ye must cuckold Lord Ronald,
For a’ his lands and ley.
3
‘O cease! forbid, madam,’ he says,
‘That this shoud eer be done!
How would I cuckold Lord Ronald,
And me his sister’s son?’
4
Then she’s ta’en out a little penknife,
That lay below her bed,
Put it below her green stay’s cord,
Which made her body bleed.
5
Then in it came him Lord Ronald,
Hearing his lady’s moan;
‘What blood is this, my dear,’ he says,
‘That sparks on the fire-stone?’
6
‘Young Childe Owlet, your sister’s son,
Is now gane frae my bower;
If I hadna been a good woman,
I’d been Childe Owlet’s whore.’
7
Then he has taen him Childe Owlet,
Laid him in prison strong,
And all his men a council held
How they woud work him wrong.
8
Some said they woud Childe Owlet hang,
Some said they woud him burn;
Some said they woud have Childe Owlet
Between wild horses torn.
9
‘There are horses in your stables stand
Can run right speedilie,
And ye will to your stable go,
And wile out four for me.’
10
They put a foal to ilka foot,
And are to ilka hand,
And sent them down to Darling muir,
As fast as they coud gang.
11
There was not a kow in Darling muir,
Nor ae piece o a rind,
But drappit o Childe Owlet’s blude
And pieces o his skin.
12
There was not a kow in Darling muir,
Nor ae piece o a rash,
But drappit o Childe Owlet’s blude
And pieces o his flesh.
292
THE WEST-COUNTRY DAMOSEL’S COMPLAINT
=a.= Douce Ballads, II, fol. 254 b; Roxburghe Ballads, II, 499,
Ebsworth, VI, 635. =b.= Douce Ballads, II, 245 b.
Also, Crawford Ballads, No 1331, Euing, 384. All the five: Printed
for P. Brooksby, at the Golden-Ball in West-Smithfield, neer the
Hospital-gate. (1672-95.)
A maid entreats her lover, William, to marry her or put an end to her
life. He unfeelingly bids her go to the wood and live on hips and
haws. She leads this life for three months; then, exhausted with the
hardship, goes to her sister’s house and begs an alms of food. The
sister (who is her rival, st. 18) orders her men to hunt away the wild
doe, and they drive her back to the forest, where she lies down and
dies. Sweet William comes, stands at her head and her feet, kisses her,
gives vent to his repentance and admiration in intense and elaborate
expressions, then lies down by her side and dies.
The first eleven stanzas are in a fairly popular tone. It will be
observed that the first and third verses rhyme in 12-24, but not in
1-11. The whole may be one man’s work, who may have thought that an
elegy should properly be more artificial, both in form and in style,
than a story, but I incline to think that the lament is a later
attachment.
1
‘When will you marry me, William,
And make me your wedded wife?
Or take you your keen bright sword
And rid me out of my life.’
2
‘Say no more so then, lady,
Say you no more then so,
For you shall into the wild forrest,
And amongst the buck and doe.
3
‘Where thou shalt eat of the hips and haws,
And the roots that are so sweet,
And thou shalt drink of the cold water,
That runs underneath [thy] feet.’
4
Now she had not been in the wild forrest
Passing three months and a day,
But with hunger and cold she had her fill,
Till she was quite worn away.
5
At last she saw a fair tyl’d-house,
And there she swore by the rood
That she would to that fair tyl’d-house,
There for to get her some food.
6
But when she came unto the gates,
Aloud, aloud she cry’d,
An alms, an alms, my own sister!
I ask you for no pride.
7
Her sister calld up her merry men all,
By one, by two, and by three,
And bid them hunt away that wild doe,
As far as ere they could see.
8
They hunted her ore hill and dale,
And they hunted her so sore
That they hunted her into the forrest,
Where her sorrows grew more and more.
9
She laid a stone all at her head,
And another all at her feet,
And down she lay between these two,
Till death had lulld her asleep.
10
When sweet Will came and stood at her head,
And likewise stood at her feet,
A thousand times he kist he[r] cold lips,
Her body being fast asleep.
11
Yea, seaven times he stood at her feet,
And seaven times at her head,
A thousand times he shook her hand,
Although her body was dead.
12
‘Ah wretched me!’ he loudly cry’d,
‘What is it that I have done?
O woud to the powers above I’de dy’d,
When thus I left her alone!
13
‘Come, come, you gentle red-breast now,
And prepare for us a tomb,
Whilst unto cruel Death I bow,
And sing like a swan my doom.
14
‘Why could I ever cruel be
Unto so fair a creature?
Alas! she dy’d for love of me,
The loveliest she in nature!
15
‘For me she left her home so fair
To wander in this wild grove,
And there with sighs and pensive care
She ended her life for love.
16
‘O constancy, in her thou’rt lost!
Now let women boast no more;
She’s fled unto the Elizium coast,
And with her carryd the store.
17
‘O break, my heart, with sorrow filld,
Come, swell, you strong tides of grief!
You that my dear love have killd,
Come, yield in death to me relief.
18
‘Cruel her sister, was’t for me
That to her she was unkind?
Her husband I will never be,
But with this my love be joynd.
19
‘Grim Death shall tye the marriage-bands,
Which jealousie shan’t divide;
Together shall tye our cold hands,
Whilst here we lye side by side.
20
‘Witness, ye groves, and chrystial streams,
How faithless I late have been,
But do repent with dying leaves
Of that my ungrateful sin;
21
‘And wish a thousand times that I
Had been but to her more kind,
And not have let a virgin dye
Whose equal there’s none can find.
22
‘Now heaps of sorrow press my soul;
Now, now’t is she takes her way;
I come, my love, without controule,
Nor from thee will longer stay.’
23
With that he fetchd a heavy groar
Which rent his tender breast,
And then by her he laid him down,
When as death did give him rest.
24
Whilst mournful birds, with leavy boughs,
To them a kind burial gave,
And warbled out their love-sick vows,
Whilst they both slept in their grave.
* * * * *
The West-Country Damosels Complaint,
or,
The Faithful Lovers Last Farewel.
Being the relation of a young maid who pined herself to death for the
love of a young man, who, after he had notice of it, dyed likewise for
grief.
Careless young men, by this a warning take
How you kind virgins, when they love, forsake;
Least the same fate oretake you, and you dye
For breach of vows and infidelity.
Be kind, but swear not more then what you mean,
Least comick jests become a trajeck scean.
To the tune of Johnny Armstrong.
* * * * *
=a.=
20^3. leaves _(so in all) seems doubtful, but I can conjecture nothing
better_. gleams _is just possible_.
=b.=
2^3. thou shalt unto.
3^4. runs beneath thy.
11^2. times stood.
20^4. that _wanting_.
22^4. will no longer.
293
JOHN OF HAZELGREEN
=A.= Elizabeth Cochrane’s MS., p. 126.
=B.= ‘Jock o Hazelgreen,’ Kinloch MSS, VII, 135; Kinloch’s Ancient
Scottish Ballads, p. 206.
=C.= ‘John o Hazelgreen,’ Kinloch MSS, I, 319.
=D. a.= ‘John o Hazelgreen,’ Buchan’s Ballads of the North of
Scotland, II, 253. =b.= ‘Jock of Hazelgreen,’ Chambers, Scottish
Ballads, p. 319.
=E. a.= Fragmentary verses obtained by Mr Pringle, Kinloch MSS, I,
321. =b.= Kinloch MSS, VII, 2, one stanza.
=A= is found, with the doubtless accidental variation of three words,
in a folio volume at Abbotsford labelled Miscellanies, article 43,
having been transcribed by C. K. Sharpe for Sir W. Scott “from a 4to
MS., in a female hand, written probably about one hundred years ago,
sold at one Inglis’s roup at the West Port, Edinburgh, now in the
possession of David Laing” (that is, Elizabeth Cochrane’s MS.). =D b=
was compounded from =D a= and =B=, “omitting,” says Chambers, “many of
the coarser stanzas of both, and improving a few by collation with a
third version which I took down from recitation, and another which has
been shown to me in manuscript by Mr Kinloch” (=C=). =D b= is, after
all, mainly =D a= with omissions; the improvements from the recited
copy (or the variations from Buchan and Kinloch) are not remarkable
in amount or quality. =E= is given on Kinloch’s authority. Alexander
Campbell, when on a tour on the borders of Scotland to collect Scottish
airs, is said to have received the first stanza from Mr Thomas Pringle,
who derived it from his mother’s singing. (Chappell, Popular Music,
p. 575.) Upon this traditional stanza was built Scott’s ‘Jock of
Hazeldean,’ first printed in Campbell’s Albyn’s Anthology, I, 18, 1816.
=A.= A gentleman overhears a damsel making a moan for Sir John of
Hazelgreen. After some compliment on his part, and some slight
information on hers, he tells her that Hazelgreen is married; then
there is nothing for her to do, she says, but to hold her peace and
die for him. The gentleman proposes that she shall let Hazelgreen go,
marry his eldest son, and be made a gay lady; she is too mean a maid
for that, and, anyway, had rather die for the object of her affection.
Still she allows the gentleman to take her up behind him on his horse,
and to buy clothes for her at Biggar, though all the time dropping
tears for Hazelgreen. After the shopping they mount again, and at last
they come to the gentleman’s place, when the son runs out to welcome
his father. The son is young Hazelgreen, who takes the maid in his arms
and kisses off the still-falling tears. The father declares that the
two shall be married the next day, and the young man have the family
lands.
The other versions have the same story, but the clothes are bought at
Edinburgh, and the Hazelgreen estate seems to be in the neighborhood.
In a preface to =C=, Kinloch, following either =D= 5 or some foolish
popular gloss, remarks that the lady is presumed to have seen young
Hazelgreen only in a dream, which left so deep an impression on her
mind as to cause her to fall in love with his image. To improve upon
this, =D= 15 makes the young man also to have seen the maid in a dream.
A
Elizabeth Cochrane’s MS., p. 126.
1
Into a sweet May morning,
As the sun clearly shone,
I heard a propper damsell
Making a heavy moan;
Making a heavy moan,
I marvelled what she did mean,
And it was for a gentleman,
Sir John of Hasillgreen.
2
‘What aileth thee now, bony maid,
To mourn so sore into the tide?
O happy were the man,’ he sayes,
‘That had thee to his bride,
To ly down by his side;
Then he were not to mean;’
But still she let the tears down fall
For pleasant Hasilgreen.
3
‘Oh what for a man is Hasillgreen?
Sweet heart, pray tell to me.’
‘He is a propper gentleman,
Dwels in the South Countrie;
With shoulders broad and arms long,
And comely to be seen;
His hairs are like the threeds of gold,
My pleasant Hasilgreen.’
4
‘Now Hasilgreen is married,
Let all this talking be.’
‘If Hasilgreen be married,
This day then woe to me;
For I may sigh and sob no more,
But close my weeping een,
And hold my peace and cry no more,
But dy for Hasilgreen.’
5
‘Will you let Hasilgreen alone,
And go along with me?
I’ll marry you on my eldest son,
Make you a gay lady.’
‘Make me a gay lady?’ she sayes,
‘I am a maid too mean;
I’ll rather stay at home,’ she cries,
‘And dy for Hasilgreen.’
6
He takes this pretty maid him behind
And fast he spurred the horse,
And they’re away to Bigger toun,
Then in to Biggar Cross.
Their lodging was far sought,
And so was it foreseen;
But still she let the tears doun fall
For pleasant Hasillgreen.
7
He’s ta’en this pretty maid by the hand,
And he is doun the toun;
He bought for her a pettycoat,
Yea, and a trailing goun;
A silken kell fitt for her head,
Laid oer with silver sheen;
But still she let the tears doun fall
For pleasant Hasilgreen.
8
He’s taen this bony mey him behind,
And he is to the Place,
Where there was mirth and merryness,
And ladyes fair of face;
And ladyes fair of face,
Right seemly to be seen,
But still she let the tears doun fall
For pleasant Hasilgreen.
9
Young Hasilgreen ran hastilie
To welcome his father dear;
He’s ta’en that pretty maid in his arms,
And kist off her falling tear:
‘O bony mey, now for thy sake
I would be rent and rien;
I would give all my father’s lands
To have thee in Hasilgreen.’
10
‘O hold your tongue now, son,’ he sayes,
‘Let no more talking be;
This maid has come right far from home
This day to visit thee.
This day should been your wedding-day,
It shall be thy bridall-een,
And thou’s get all thy father’s lands,
And dwell in Hasillgreen.’
B
Kinloch’s MSS, VII, 135; from the recitation of Jenny Watson, Lanark,
24 April, 1826.
1
It was on a morning early,
Before day-licht did appear,
I heard a pretty damsel
Making a heavy bier;
Making a heavy bier,
I wonderd what she did mean;
But ay the tears they rappit doun,
Crying, O Jock o Hazelgreen!
2
‘O whare is this Hazelgreen, maid?
That I may him see.’
‘He is a ticht and a proper man,
Lives in the South Cuntree.
His shoulders broad, his arms lang,
O he’s comely to be seen!’--
But ay the tears they drappit doun
For Jock o Hazelgreen.
3
‘Will ye gang wi me, fair maid?
. . . . . . .
And I’ll marry ye on my son,’
. . . . . . .
‘Afore I’d go along wi you,
To be married on your son,
I’d rather choose to stay at hame,
And die for Hazelgreen.’
4
But he has tane her up behind,
And spurred on his horse,
Till ance he cam to Embro toun,
And lichted at the corss.
He bought to her a petticoat,
Besides a handsome goun;
He tied a silver belt about her waist,
Worth thrice three hunder pund.
5
And whan he cam to Hazelyetts,
He lichted doun therein;
Monie war the brave ladies there,
Monie ane to be seen.
She lichted doun amang them aw,
She seemed to be the queen;
But ay the tears they rappit doun
For Jock o Hazelgreen.
6
Young Hazelgreen took her by the hand
And led her out and in:
Said, Bonnie lady, for your sake,
I could be baith rent and rien;
I wad gie aw my lands and rents,
Tho I had kingdoms three,
If I could hae the great pleasure
To enjoy thy fair bodie.
7
‘No more of this,’ his father said,
‘Of your mourning let abee;
I brought the damsel far frae hame,
She’s thrice as wae for thee.
The morn is your bridal-day,
The nicht is your bridal-een,
And I’ll gie you aw my lands and rents,
My pleasing son, Hazelgreen.’
C
Kinloch MSS, I, 319.
1
As I gaed out in a May morning,
Afore that I could see,
And there I heard a pretty fair may
Making sweet melodie.
She was making sic melodie,
I wonderd what she could mean;
But ay she sang and sang about
Sweet John o Hazelgreen.
2
‘O what na man is Hazelgreen?
Fair may, pray tell to me.’
‘He is a stout and a tall young man
As in a’ the South Countrie.
He is a stout and a tall young man,
And comely to be seen;
But still O I maun weep and wail
For John o Hazelgreen.’
3
‘Hold your tongue, fair maid,’ he says,
‘And let your weeping alane;
I’ll marry you to my eldest son,
And you shall be ca’d my dame.’
4
He has tane her on ahint him,
And fast he spurred the steed;
For Edinbro town he there was bound,
Where they soon came wi speed.
7
He’s tane her to the Luckenbooths,
Coft her a braw new gown,
A handsome feather for her hat,
And a pair o silken shoon.
8
He has tane the fair may up again,
And fast awa rode he;
For Hazelgreen now he was bound,
Her lodging there to be.
9
She jumped aff frae ahint him,
As fair as any queen;
‘Come down, come down, Lord John,’ he says,
‘And welcome your lady hame.
10
‘It is the tall and comely youth,
Sweet John o Hazelgreen;
If we canna see it bridal-day,
It shall be bridal-een.’
D
=a.= Buchan’s Ballads of the North of Scotland, II, 253. =b.=
Chambers, Scottish Ballads, p. 319.
1
As I went forth to take the air
Intill an evening clear,
And there I spied a lady fair,
Making a heavy bier;
Making a heavy bier, I say,
But and a piteous meen,
And aye she sighd, and said, Alas,
For John o Hazelgreen!
2
The sun was sinking in the west,
The stars were shining clear,
When thro the thickets o the wood,
A gentleman did appear.
Says, Who has done you the wrong, fair maid,
And left you here alane?
Or who has kissd your lovely lips,
That ye ca Hazelgreen?
3
‘Hold your tongue, kind sir,’ she said,
‘And do not banter so;
How will ye add affliction
Unto a lover’s woe?
For none’s done me the wrong,’ she said,
‘Nor left me here alane;
Nor none has kissd my lovely lips,
That I ca Hazelgreen.’
4
‘Why weep ye by the tide, lady?
Why weep ye by the tide?
How blythe and happy might he be
Gets you to be his bride!
Gets you to be his bride, fair maid,
And him I’ll no bemean;
But when I take my words again,
Whom call ye Hazelgreen?
5
‘What like a man was Hazelgreen?
Will ye show him to me?’
‘He is a comely, proper youth
I in my sleep did see;
Wi arms tall, and fingers small,
He’s comely to be seen;’
And aye she loot the tears down fall
For John o Hazelgreen.
6
‘If ye’ll forsake young Hazelgreen,
And go along with me,
I’ll wed you to my eldest son,
Make you a lady free.’
‘It’s for to wed your eldest son
I am a maid oer mean;
I’ll rather stay at home,’ she says
‘And die for Hazelgreen.’
7
‘If ye’ll forsake young Hazelgreen,
And go along with me,
I’ll wed you to my second son,
And your weight o gowd I’ll gie.’
‘It’s for to wed your second son
I am a maid oer mean;
I’ll rather stay at home,’ she says,
‘And die for Hazelgreen.’
8
Then he’s taen out a siller comb,
Combd down her yellow hair;
And lookëd in a diamond bright,
To see if she were fair.
‘My girl, ye do all maids surpass
That ever I have seen;
Cheer up your heart, my lovely lass,
And hate young Hazelgreen.’
9
‘Young Hazelgreen he is my love,
And ever mair shall be;
I’ll nae forsake young Hazelgreen
For a’ the gowd ye’ll gie.’
But aye she sighd, and said, Alas!
And made a piteous meen,
And aye she loot the tears down fa
For John o Hazelgreen.
10
He lookëd high, and lighted low,
Set her upon his horse;
And they rode on to Edinburgh,
To Edinburgh’s own cross.
And when she in that city was,
She lookd like ony queen:
‘’Tis a pity such a lovely lass
Shoud love young Hazelgreen.’
11
‘Young Hazelgreen, he is my love,
And ever mair shall be;
I’ll nae forsake young Hazelgreen
For a’ the gowd ye’ll gie.’
And aye she sighd, and said, Alas!
And made a piteous meen,
And aye she loot the tears down fa
For John o Hazelgreen.
12
‘Now hold your tongue, my well-fard maid,
Lat a’ your mourning be,
And a’ endeavours I shall try
To bring that youth to thee,
If ye’ll tell me where your love stays,
His stile and proper name.’
‘He’s laird o Taperbank,’ she says,
‘His stile, Young Hazelgreen.’
13
Then he has coft for that lady
A fine silk riding-gown,
Likewise he coft for that lady
A steed, and set her on;
Wi menji feathers in her hat,
Silk stockings and siller sheen,
And they are on to Taperbank,
Seeking young Hazelgreen.
14
They nimbly rode along the way,
And gently spurrd their horse,
Till they rode on to Hazelgreen,
To Hazelgreen’s own close.
Then forth he came, young Hazelgreen,
To welcome his father free:
‘You’re welcome here, my father dear,
And a’ your companie.’
15
But when he lookd oer his shoulder,
A light laugh then gae he;
Says, If I getna this lady,
It’s for her I must die.
I must confess this is the maid
I ance saw in a dream,
A walking thro a pleasant shade,
As fair’s a cypress queen.
16
‘Now hold your tongue, young Hazelgreen,
Lat a’ your folly be;
If ye be wae for that lady,
She’s thrice as wae for thee.
She’s thrice as wae for thee, my son,
As bitter doth complain;
Well is she worthy o the rigs
That lie on Hazelgreen.’
17
He’s taen her in his arms twa,
Led her thro bower and ha:
‘Cheer up your heart, my dearest dear,
Ye’re flower out-oer them a’.
This night shall be our wedding-een,
The morn we’ll say, Amen;
Ye’se never mair hae cause to mourn,
Ye’re lady o Hazelgreen.’
E
=a.= “Got in the South County by Mr Pringle:” Kinloch’s MSS, I, 321.
=b.= Kinloch’s MSS, VII, 2.
1
‘Why weep ye by the tide, ladye?
Why weep ye by the tide?
I’ll wed ye to my youngest son,
And ye sall be his bride.
And ye sall be his bride, ladye,
Sae comely to be seen;’
But aye she loot the tears down fa
For John o Hazelgreen.
2
‘O whaten a man is Hazelgreen?
I pray thee tell to me.’
‘O there’s not a handsomer gentleman
In a’ the South Countrie.
His arms are long, his shoulders broad,
Sae comely to be seen!’
And aye she loot the tears down fa
For John o Hazelgreen.
* * * * *
=A.=
1^5. she meant.
_Sharpe’s transcript reads_:
1^1. In _for_ Into.
5^2. come _for_ go.
8^6. Most _for_ Right.
=B.=
5^2. thereat; _changed to_ therein _in printing_. _The line is run
through in pencil._
6^4. raving. _Cf._ =A= 9^6.
_Kinloch made some changes in printing._
=C.=
_Written throughout in stanzas of four verses._
=D. b.=
_Since Chambers in some measure adjusted phraseology with a view
to “literary” effect, it is impossible to make out which of the
variations in his ballad came from the copy which he took down from
recitation. Upon extracting all his variations, they have not turned
out to be important. A few, which seem the most likely to have
belonged to his recited copy, are subjoined._
1^3. I spied a lady in a wood.
2^4. An auld knicht.
7^{3,5}. youngest _for_ second.
10^{5-8}.
And he has coft her silken claes
Garred her look like a queen:
‘Ye surely now will sick nae mair
For Jock o Hazelgreen.’
13^7. And they have ridden far athort.
_After 15._
For her sake I did vow a vow
I neer should wed but she;
Should this fair lady cruel prove,
I’ll lay me doun and dee.
16^{3,4,5}. sick _for_ wae.
16^{7,8}.
And a’ she wants to heal her woe
Is Jock o Hazelgreen.
17^4. Ye’re lady ower.
=E. b.=
2.
‘What like a man is Haselgreen?
Lady, tell to me.’
‘He’s a handsome, proper youth
As ever my eyes did see.
With shoulders broad and arms long,
Most comely to be seen;’
And still she lout the tears doun fa
For Jock of Haselgreen.
294
DUGALL QUIN
‘Dugall Quin,’ The Old Lady’s MS. Collection, No 27.
In this little ballad, which has barely story enough to be so called,
Dugald Quin, a Highlander, who seems to give himself out as a man in
very humble circumstances, induces Lizzie Menzies, a young lady who
appears to have nine maids at her command, to follow him, regardless
of her father’s opposition. She cannot resist his merry winking eyes.
After she has cast in her lot with his, he promises her nine mills (to
match the nine maids), and to make her lady of Garlogie. The old lady
minutes at the end of her copy that “it was the Marquis of Huntly.”
One version of ‘Rob Roy,’ No 225, I, 8, has a stanza like 2.
‘What think ye o my coal-black hair,
But and my twinkling een, lady,
A little bonnet on my head,
And cocket up aboon, lady?’
I suppose the Farie of 6^2, 9^2, to stand for a locality on the
way north to Boggie (Strathbogie); I cannot, however, identify the
place. ‘Tempeng chiss of farie,’ 6^4, 9^4, 10^4, may be a tempting
fairy treasure. ‘Chis’ is Gaelic for _tribute_, but I am at present
unable, making whatever allowance for the capricious spelling of the
manuscript, to suggest any satisfying explanation of this important
phrase.
Sir Walter Scott makes this note: “How the devil came Dugald Gunn [so
he chooses to read Quin] to be identified with the Marquis of Huntly?
I never saw the song before; it has some spunk in it.” Sharpe’s Ballad
Book, ed. 1880, p. 154.
1
Dugall Quin came to the toun,
An he’s ben lang awaa,
An he is one to Lissie’s bed,
Tartan, trues, an a’.
2
‘Hou wad ye leak me, Lisie,’ he says,
‘Gin that I war yer ain,
We raged cot apon my back,
An singel-soled sheen,
A littel we bonnet on my head,
An tua merry wenking ean?’
3
‘Well wad I leak ye, Dugall,’ she says,
‘Gin that ye war my ain,
We ragged coat upon yer back,
An singel-soled sheen,
A littel we bonnet on yer head,
An tua merry wenking eyn.
4
‘Hou wad ye leak me, Dugall,’ she says,
‘Gin I wer yer ain,
We silken sneed upon my head,
An gold fann in my hand,
An madins ning, a’ clead in green,
To be att my comand?’
5
‘Well wad I leak ye, Lisie,’ he says,
‘Gin ye wer my ain,
We silken sneed upon yer head,
An a goud fan in yer hand,
An madins nine, a’ clad in green,
To be att yer command.
6
‘Follou me nou, Lisie,’ he says,
‘Follou me throu Farie,
An reap the boddoms of my pakets,
An ye’ll gett tempeng chiss of farei.’
7
Outspak her father, says,
Lissie, I widna wish ye,
For gin ye gay we this young man
They will say I ha bat lost ye.
8
‘O had yer toung, my father dear,
For a’ that winne brake me;
For I will gaa we this young man,
Since it’s his will to take me.’
9
‘Follou me nou, Lissë,’ he says,
‘An follou me throu Farie,
An reap the boddom of my poket,
An ye’ll gett tempeng chess of farie.’
10
‘Wea matt worth yer well-fared face,
Alas that ever I saa ye!
The first an thing that ever ye gaa to me
Was the tempen chess of farie.’
11
Dugall Quin read doun the toun,
Upon Dumfarling’s horses,
An Lisie Meanes folloued him,
For a’ her father’s forces.
12
‘Follou me nou, Lisie,’ he says,
‘An follou me our Boggie;
I ill make ye lady of ning mills,
An lady of bonny Garlogë.’
13
She has folloued her trou-love
[An folloued him] our Boggie,
An she has marred Dugall Quin,
An lives belou Strathbogy.
* * * * *
2^5. bomnet.
4^5, 12^3. ning: _a frequent spelling of the old lady’s, conceived,
perhaps, as_ nign. _We have_ nine _in_ 5^5.
12^3. ill; _MS._ aill.
_Note at the end_: it was the markes of Huntly.
295
THE BROWN GIRL
=A.= ‘The bonny Brown Girl,’ ‘The Brown Girl,’ The Brown Girl’s
Garland, British Museum, 11621. c. 3 (10).
=B.= As lately taken down in Devon by Rev. S. Baring-Gould.
A young man who has been attached to a girl sends her word by letter
that he cannot fancy her because she is so brown (he has left her for
another maid in =B=). She sends a disdainful reply. He writes again
that he is dangerously ill (he is love-sick in =B=), and begs her come
to him quickly and give him back his faith. She takes her time in
going, and when she comes to the sick man’s bedside, cannot stand for
laughing. She has, however, brought a white wand with her, which she
strokes on his breast, in sign that she gives him back the faith which
he had given her. But as to forgetting and forgiving, that she will
never do; she will dance upon his grave.
This little ballad recalls ‘Lord Thomas and Fair Annet’ (‘Lord Thomas
and Fair Ellinor, with the downfall of the Brown Girl’), ‘Sweet
William’s Ghost,’ ‘Clerk Saunders,’ ‘The Unquiet Grave,’ ‘Bonny Barbara
Allan,’ and has something of all of them. Compare No 73; No 77, =A= 4,
=B= 2, 9, =C= 6, 14, =D= 4, 13, =E= 6, 14; No 84 (for the laughing, =B=
12); No 69, =A= 20-22, =D= 11, 14, =E= 17-20, =G= 23-25; No 78, =B= 2,
=E= 2, =F= 2. Still it is not deliberately and mechanically patched
together (as are some pieces in Part VIII), and in the point of the
proud and unrelenting character of the Brown Girl it is original.
A
The Brown Girl’s Garland, British Museum, 11621. c. 3 (10), n. d.,
before 1788.
1
‘I am as brown as brown can be,
My eyes as black as a sloe;
I am as brisk as a nightingale,
And as wilde as any doe.
2
‘My love has sent me a love-letter,
Not far from yonder town,
That he could not fancy me,
Because I was so brown.
3
‘I sent him his letter back again,
For his love I valu’d not,
Whether that he could fancy me
Or whether he could not.
4
‘He sent me his letter back again,
That he lay dangerous sick,
That I might then go speedily
To give him up his faith.’
5
Now you shall hear what love she had
Then for this love-sick man;
She was a whole long summer’s day
In a mile a going on.
6
When she came to her love’s bed-side,
Where he lay dangerous sick,
She could not for laughing stand
Upright upon her feet.
7
She had a white wand all in her hand,
And smoothd it all on his breast;
‘In faith and troth come pardon me,
I hope your soul’s at rest.
8
‘I’ll do as much for my true-love
As other maidens may;
I’ll dance and sing on my love’s grave
A whole twelvemonth and a day.’
B
Taken down lately by Rev. S. Baring-Gould from a blacksmith, parish of
Thrushleton, Devon.
1
‘I am as brown as brown can be,
And my eyes as black as sloe;
I am as brisk as brisk can be,
And wild as forest doe.
2
‘My love he was so high and proud,
His fortune too so high,
He for another fair pretty maid
Me left and passed me by.
3
‘Me did he send a love-letter,
He sent it from the town,
Saying no more he loved me,
For that I was so brown.
4
‘I sent his letter back again,
Saying his love I valued not,
Whether that he would fancy me,
Whether that he would not.
5
‘When that six months were overpassd,
Were overpassd and gone,
Then did my lover, once so bold,
Lie on his bed and groan.
6
‘When that six months were overpassd,
Were gone and overpassd,
O then my lover, once so bold,
With love was sick at last.
7
‘First sent he for the doctor-man:
‘You, doctor, me must cure;
The pains that now do torture me
I can not long endure.’
8
‘Next did he send from out the town,
O next did send for me;
He sent for me, the brown, brown girl
Who once his wife should be.
9
‘O neer a bit the doctor-man
His sufferings could relieve;
O never an one but the brown, brown girl
Who could his life reprieve.’
10
Now you shall hear what love she had
For this poor love-sick man,
How all one day, a summer’s day,
She walked and never ran.
11
When that she came to his bedside,
Where he lay sick and weak,
O then for laughing she could not stand
Upright upon her feet.
12
‘You flouted me, you scouted me,
And many another one;
Now the reward is come at last,
For all that you have done.’
13
The rings she took from off her hands,
The rings by two and three:
‘O take, O take these golden rings,
By them remember me.’
14
She had a white wand in her hand,
She strake him on the breast:
‘My faith and troth I give back to thee,
So may thy soul have rest.’
15
‘Prithee,’ said he, ‘forget, forget,
Prithee forget, forgive;
O grant me yet a little space,
That I may be well and live.’
16
‘O never will I forget, forgive,
So long as I have breath;
I’ll dance above your green, green grave
Where you do lie beneath.’
* * * * *
=A.=
_Heading._ The Brown Girl; to an excellent tune.
=B.=
_From_ A right merry book of Garlands. Collected by J. Bell, on the
Quay, Newcastle upon Tyne. _A slip inserted after the 6th Garland
bears these words_: The old garlands in these volumes [11621. c. 3,
c. 4] are printed by J. White, who died in 1769, and by T. Saint, who
died in 1788.... Letter of J. Bell.
The Brown Girl’s Garland, composed of four extraordinary new songs.
The bonny Brown Girl, etc., etc.
4^4. his Eilk.
296
WALTER LESLY
‘Walter Lesly,’ Buchan’s Ballads of the North of Scotland, II, 139.
A late, but life-like and spirited ballad.
Walter Lesly steals a girl, not for her beauty or blood, but for her
mother’s dollars, of which he has need. She is tied on to a horse,
taken to an ale-house, and put to bed. Lesly, weary with hard riding,
falls asleep; the girl gets up and runs over moss, moor, hill and dale,
barefoot. Lesly’s men pursue, but the road is full of pools and tires
the men out. The girl effects her escape.
1
On the second of October, a Monday at noon,
In came Walter Lesly, to see his proper one;
He set a chair down by her side, and gently sat her by,
Says, Will ye go to Conland, this winter-time to lye?
2
He’s taen a glass into his hand, inviting her to drink,
But little knew she his meaning, or what the rogue did think;
Nor what the rogue did think, to steal the maid away;
‘Will ye go to Conland, this winter-time to lye?’
3
When they had taen a glass or two, and all were making merry,
In came Geordy Lesly, and forth he did her carry;
Then upon high horseback sae hard’s he did her tye,
‘Will ye go to Conland, this winter-time to lye?’
4
Her mother she came to the door, the saut tears on her cheek,
She coudna see her daughter, it was for dust and reek;
It was for dust and reek, the swords they glancd sae high;
‘And will ye go to Conland, this winter-time to lye?’
5
When they came to the ale-house, the people there were busy;
A bridal-bed it was well made, and supper well made ready;
When the supper down was set, baith plum-pudding and pie,
‘And will ye go to Conland, this winter-time to lye?’
6
When they had eaten and well drunken, and a’ man bound for bed,
The laddie and the lassie in ae chamber were laid;
He quickly stript her to the smock, and gently laid her bye,
Says, Will ye go to Conland, this winter-time to lye?
7
But Walter being weary, he fell fast asleep,
And then the lassie thought it fit to start up till her feet;
To start up till her feet, and her petticoats to tye,
‘We’ll go no more to Conland, the winter-time to lye.’
8
Then over moss and over muir sae cleverly she ran,
And over hill and over dale, without stockings or shoon;
The men pursued her full fast, wi mony shout and cry,
Says, Will ye go to Conland, the winter-time to lye.
9
‘Wae to the dubs o Duffus land, that eer they were sae deep;
They’ve trachled a’ our horsemen and gart our captain sleep;
And gart our captain sleep, and the lassie win away,
And she’ll go no more to Conland, the winter-time to lye.’
10
‘I’d rather be in Duffus land, selling at the ale,
Before I was wi Lesly, for a’ his auld meal;
For a’ his auld meal, and sae mony comes to buy;
I’ll go no more to Conland the winter-time to lye.
11
‘I’d rather be in Duffus land, dragging at the ware,
Before I was wi Lesly, for a’ his yellow hair;
For a’ his yellow hair, and sae well’s he can it tye;
I’ll go no more to Conland, this winter-time to lye.’
12
It was not for her beauty, nor yet her gentle bluid,
But for her mither’s dollars, of them he had great need;
Of them he had great need, now he maun do them by,
For she’ll go no more to Conland, this winter-time to lye.
* * * * *
_Printed in stanzas of eight short lines._
297
EARL ROTHES
‘Earl Rothes,’ Kinloch MSS, I, 333.
Lady Ann has an adulterous connection with Earl Rothes, and her
youthful brother seeks to sunder it. He offers to pay a tocher for
her if she will forsake the earl’s company; to keep her in his castle
till she is safely brought to bed, and make her a marquis’s lady; she
rejects all his offers with scorn. The boy declares that when he is old
enough to wear a sword he will thrust it through Earl Rothes for using
his sister so badly.
1
‘O Earl Rothes, an thou wert mine,
And I were to be thy ladie,
I wad drink at the beer, and tipple at the wine,
And be my bottle with any.’
2
‘Hold thy tongue, sister Ann,’ he says,
‘Thy words they are too many;
What wad ye do wi sae noble a lord,
When he has so noble a ladie?
3
‘O I’ll pay you your tocher, Lady Ann,
Both in gear and money,
If ye’ll forsake Earl Rothes’s companie,
And mind that he has a ladie.’
4
‘I do not value your gold,’ she says,
‘Your gear it’s no sae readie;
I’ll neer forsake Earl Rothes’s companie,
And I don’t gie a fig for his ladie.’
5
‘I’ll keep ye i the castle, Lady Ann,
O servants ye shall hae monie;
I’ll keep ye till ye’re safely brocht to bed,
And I’ll mak you a marquis’s ladie.’
6
‘I do not value your castle,’ she says,
‘Your servants are no sae readie;
Earl Rothes will keep me till I’m brocht to bed,
And he’ll mak me a marquis’s ladie.’
7
‘Woe be to thee, Earl Rothes,’ he says,
‘And the mark o the judge be upon thee,
For the using o this poor thing sae,
For the using my sister so badly.
8
‘When I’m come to the years of a man,
And able a sword to carry,
I’ll thrust it thro Earl Rothes’ bodie
For the using my sister sae basely.
9
‘Fare thee well, Lady Ann,’ he says,
‘No longer will I tarry;
You and I will never meet again,
Till we meet at the bonny town o Torry.’
298
YOUNG PEGGY
‘Young Peggy,’ Kinloch’s Ancient Scottish Ballads, p. 153.
Peggy has been seen in the garden with Jamie late in the night, for
which her mother calls her to account. She does not deny the fact; she
takes the blame on herself; the thing will happen again. But going to
her bower, where Jamie is attending her, she tells him they must meet
no more. He makes a tryst with her in the greenwood at midnight, she
keeps it and goes off with her lover. Her father pursues them, but they
are married before he gets to the top of the hill.
1
‘O whare hae ye been, Peggy?
O whare hae ye been?’
‘I the garden amang the gilly-flowrs,
Atween twal hours and een.’
2
‘Ye’ve na been there your leen, Peggy,
Ye’ve na been there your leen;
Your father saw you in Jamie’s arms,
Atween twal hours and een.’
3
‘Tho my father saw me in Jamie’s arms,
He’ll see me there again;
For I will sleep in Jamie’s arms
When his grave’s growin green.’
4
‘Your Jamie is a rogue, Peggy,
Your Jamie is a loun,
For trysting out our ae dochter,
And her sae very young.’
5
‘Lay no the wyte on Jamie, mither,
The blame a’ lies on me;
For I will sleep in Jamie’s arms
When your een winna see.’
6
Now she has to her ain bouer gane;
He was waiting there him leen:
‘I’m blythe to see ye, Jamie, here,
For we maunna meet again.’
7
She’s tane the wine-glass in her hand,
Pourd out the wine sae clear;
Says, Here’s your health and mine, Jamie,
And we maun meet na mair.
8
She has tane him in her arms twa,
And gien him kisses five;
Says, Here’s your health and mine, Jamie,
I wish weel mote ye thrive.
9
‘Your father has a bonnie cock,
Divides the nicht and day,
And at the middle watch o the nicht
In greenwud ye’ll meet me.’
10
Whan bells war rung, and mass was sung,
And a’ men boun for bed,
She’s kilted up her green claithing,
And met Jamie in the wud.
11
Whan bells war rung, and mass was sung,
About the hour o twa,
It’s up bespak her auld father,
Says, Peggy is awa!
12
‘Ga saddle to me the black, the black,
Ga saddle to me the grey;’
But ere they wan to the tap o the hill
The wedding was a’ bye.
299
TROOPER AND MAID
=A.= ‘The Trooper and Fair Maid,’ Buchan’s Ballads of the North of
Scotland, I, 230.
=B.= ‘The Trooper,’ Motherwell’s MS., p. 27.
=C.= Jamieson’s Scottish Ballads, II, 158.
A trooper comes to the house of his mistress in the evening and is
kindly received. They pass the night together and are wakened by the
trumpet. He must leave her; she follows him some way, he begging her
to turn back. She asks him repeatedly when they are to meet again and
marry. He answers, when cockle shells grow siller bells, when fishes
fly and seas gang dry, etc.: see I, 168, 437.
There are several other ballads of a trooper and a maid (Peggy).
In ‘The Bonnie Lass o Fyvie,’ Christie, I, 276, Murison MS., p.
50, Kinloch MSS, VII, 339, Buchan MSS, II, 270, ‘Irish Dragoons,’
Motherwell’s MSS, p. 428, a captain falls in love with a Peggy and
dies thereof; but in another copy, ‘Pretty Peggy,’ Gibb MS., No 13, p.
53, all is made to end well. A dragoon very constant and liberal to
Peggy, and she very fond to him, are happily married in ‘The Dragoon
and Peggy,’ Maidment, Scotish. Ballads and Songs, 1859, p. 98, from a
Glasgow copy of the date 1800. The first half of this ballad is found
under the title of ‘The Laird of Kellary’ in Kinloch MSS, I, 359. In an
English broadside which is perhaps of the first half of the seventeenth
century, a married Peggy leaves her husband to follow a soldier over
sea, but returns and is forgiven: ‘The Soldier and Peggy,’ Roxburghe
collection, I, 370 (also Pepys, Euing, Douce), Chappell, The Roxburghe
Ballads, II, 475. ‘Peggie is over the sie with the souldier’ is the
title of a tune (No 95) in the Skene MSS, which date from the first
quarter of the seventeenth century. A correspondent of C. K. Sharpe
sent him one stanza of a Scottish ballad upon this theme:
Peggie’s gane oer the seas, a’ dressed in red,
An Peggie’s come back again, beggin her bread.
The landladie looked wi the tail o her ee:
‘O foul fa ye, Peggie, for leaving o me.’
There is also a ballad of a valiant trooper and a pretty Peggy who, at
first inconstant, turns out a loving wife, in Pepys, IV, 40, No 37.
=A= is translated by Gerhard, p. 189.
A
1
One evening as a maid did walk,
The moon was shining clearly,
She heard a trooper at the gates,
She thought it was her dearie.
She’s taen his horse then by the head,
And led him to the stable,
And gien to him baith corn and hay,
To eat what he was able.
Bonny lass, gin I come near you,
Bonny lass, gin I come near you,
I’ll gar a’ your ribbons reel,
Bonny lass, or eer I lea you.
2
She’s taen the trooper by the hand,
And led him to the table,
And furnishd him wi bread and cheese,
To eat what he was able.
She’s taen the wine-glass in her hand,
Poured out the wine sae clearly;
‘Here is your health an mine,’ she cried,
‘And ye’re welcome hame, my deary!
3
‘A glass o wine for gentlemen,
And bonny lads for lasses,
And bread and cheese for cavaliers,
And corn and hay for asses.’
Then she went but and made his bed,
She made it like a lady,
And she coost aff her mankie gown,
Says, Laddie, are you ready?
4
Then he coost aff his big watch-coat,
But and his silken beaver,
A pair o pistols frae his side,
And he lay down beside her.
‘Bonny lassie, I am wi you now,
Bonny lassie I am wi you,
But I’ll gar a’ your ribbons reel,
Bonny lassie, ere I lea you.’
5
The trumpet sounds thro Birldale,
Says, Men and horse, make ready;
The drums do beat at Staneman hill,
‘Lads, leave your mam and daddie.’
The fifes did play at Cromley banks,
‘Lads, leave the lewes o Fyvie;’
And then the trooper he got up,
Says, Lassie, I must lea you.
6
‘Bonny lassie, I maun lea you now,
Bonny lassie, I maun lea you;
But if ever I come this road again,
I will come in and see you.’
7
She’s taen her gown out-ower her arms,
And followed him to Stirling,
And aye the trooper he did say,
O turn ye back, my darling.
‘O when will we twa meet again?
Or when will you me marry?’
‘When rashin rinds grow gay gowd rings,
I winna langer tarry.’
8
‘O when will we twa meet again?
Or when will you me marry?’
‘When heather-knaps grow siller taps,
I winna langer tarry.’
‘O when will we twa meet again?
Or when will you me marry?’
‘When heather-cows grow owsen-bows,
I winna langer tarry.’
9
‘O when will we twa meet again?
Or when will you me marry?’
‘When cockle-shells grow siller bells,
I winna langer tarry.’
‘O when will we twa meet again?
Or when will you me marry?’
‘When apple-trees grow in the seas,
I winna langer tarry.’
10
‘O when will we twa meet again?
Or when will you me marry?’
‘When fishes fly, and seas gang dry,
I winna langer tarry.’
‘O when will we twa meet again?
Or when will you me marry?’
‘When frost and snaw shall warm us a’,
I winna langer tarry.’
11
‘Yestreen I was my daddie’s dow,
But an my mamy’s dawtie;
This night I gang wi bairn to you,
Wae’s me that I eer saw thee!’
‘Yestreen ye were your daddie’s dow,
But an your mammie’s dawtie;
But gin ye gang wi bairn to me,
Ye may rue that eer ye saw me.
12
‘O turn back, my bonny lass,
And turn back, my dearie;
For the Highland hills are ill to climb,
And the bluidy swords woud fear ye.’
B
Motherwell’s MS., p. 27; from the recitation of Widow Nicol.
1
There cam a trooper frae the West,
And of riding he was weary;
He rappit at and clappit at,
In calling for his dearie.
By chance the maid was in the close,
The moon was shining clearly,
She opened the gates and let him in,
Says, Ye’re welcome hame, my dearie.
2
She took the horse by the bridle-reins
And led him to the stable;
She gave him corn and hay to eat,
As much as he was able.
She up the stair and made the bed,
She made it fit for a lady,
Then she coost aff her petticoat,
Said, Trooper, are ye ready?
3
. . . . . . . .
. . . . . . . .
. . . . . . . .
. . . . . . . .
‘There’s bread and cheese for musqueteers,
And corn and hay for hor[s]es,
Sack and sugar for auld wives,
And lads for bonnie lasses.’
4
He coost aff his gude buff coat,
His boots, likewise his beaver,
He drew his rapier frae his side,
And streekit him down beside her.
‘Bonnie lass, I trew I’m near the[e] now,
Bonnie lass, I trew I’m near thee,
And I’ll gar a’ thy ribbons reel,
Bonnie lassie, or I lea thee.’
5
They had but spoken little a while
Till of speaking they were weary;
They sleeped together in each other’s arms
Till the sun was shining clearly.
The very first sound the trumpet gave
Was, Troopers, are ye ready?
Away you must to London town,
Or else for Londonderry.
6
She took the bottle in her hand,
The glass into the other,
She filled it up with blood-red wine,
Until it ran quite over.
She drank a health to her love on the stair,
Saying, When shall we two marry?
Or when shall we two meet again,
On purpose for to marry?
7
‘O when shall we two meet again?
Or when shall we two marry?’
‘When cockle-shells grow siller bells;
No longer must I tarry.’
C
Jamieson, Popular Ballads, II, 158, as often heard by him in
Morayshire.
1
There cam a trooper frae the west,
And he’s ridden till his deary;
‘It’s open and lat me in,’ he says,
For I am wet and weary.’
* * * * * * *
2
‘O whan sall we be married, love?
O whan sall we be married?’
‘Whan heather-cows turn owsen-bows,
It’s then that we’ll be married.’
3
‘O whan sall we be married, love?
O when sall we be married?’
‘When cockle-shells turn siller bells,
It’s then that we’ll be married.’
4
. . . . . . . .
. . . . . . . .
‘Whan the sun and moon dance on the green,
It’s then that we’ll be married.’
* * * * *
=A.=
5^6. Lewas.
5^8. lea you now.
=B.=
4^3. threw? _Motherwell._
4^7. gard.
=C.=
_The verses are given incidentally in a preface to another ballad.
Between 1 and 2_: The kind fair one puts his horse into the stable and
takes himself to her bower, where she gives him ‘the good white bread
and blood-red wine,’ and a part of her bed. In the morning, when he
proposes to depart, she naturally enough asks [_as in st. 2_].
300
BLANCHEFLOUR AND JELLYFLORICE
‘Blancheflour and Jellyflorice,’ Buchan’s Ballads of the North of
Scotland, I, 125; Motherwell’s MS., p. 588.
A maid who has been some years in a lady’s service aspires to something
higher; she seeks and obtains a place with a queen, ‘to sew the seams
of silk.’ The queen warns her to keep herself from the young prince,
but the pair become familiar, and the queen has her mounted on a wild
horse without a bridle, expecting to dispose of her summarily in this
way. But the prince takes her from the horse and declares that he will
marry her within the month.
Buchan suspects that some “poetaster” has remodelled the story of
the romance of Florice and Blancheflour, “modernizing it to suit the
climate of his time,” that is, perhaps, turning a princess into a
sempstress. The only thing in the romance that is even remotely like
what we find in the ballad is that Florice saves Blancheflour from
the death which his father had contrived for her in order to part the
lovers, and this passage does not occur in the English versions of the
romance.
There is a Flemish ballad, so to call it, composed from the romance:
Coussemaker, p. 177, No 51, Baecker, Chansons historiques de la
Flandre, p. 121; Oude Liedekens in Bladeren, L. van Paemel, Gend, No 17.
1
There was a maid, richly arrayd,
In robes were rare to see,
For seven years and something mair
She servd a gay ladie.
2
But being fond o a higher place,
In service she thought lang;
She took her mantle her about,
Her coffer by the band.
3
And as she walkd by the shore-side,
As blythe’s a bird on tree,
Yet still she gaz’d her round about,
To see what she could see.
4
At last she spied a little castle,
That stood near by the sea;
She spied it far and drew it near,
To that castle went she.
5
And when she came to that castle
She tirled at the pin,
And ready stood a little wee boy
To lat this fair maid in.
6
‘O who’s the owner of this place,
O porter-boy, tell me;’
‘This place belongs unto a queen
O birth and high degree.’
7
She put her hand in her pocket,
And gae him shillings three:
‘O porter, bear my message well
Unto the queen frae me.’
8
The porter’s gane before the queen,
Fell low down on his knee:
‘Win up, win up, my porter-boy,
What makes this courtesie?’
9
‘I hae been porter at your yetts,
My dame, these years full three,
But see a ladie at your yetts
The fairest my eyes did see.’
10
‘Cast up my yetts baith wide and braid,
Lat her come in to me,
And I’ll know by her courtesie
Lord’s daughter if she be.’
11
When she came in before the queen,
Fell low down on her knee:
‘Service frae you, my dame the queen,
I pray you grant it me.’
12
‘If that service ye now do want,
What station will ye be?
Can ye card wool, or spin, fair maid,
Or milk the cows to me?’
13
‘No, I can neither card nor spin,
Nor cows I canno milk,
But sit into a lady’s bower
And sew the seams o silk.’
14
‘What is your name, ye comely dame?
Pray tell this unto me:’
‘O Blancheflour, that is my name,
Born in a strange countrie.’
15
‘O keep ye well frae Jellyflorice--
My ain dear son is he--
When other ladies get a gift,
O that ye shall get three.’
16
It wasna tald into the bower
Till it went thro the ha,
That Jellyflorice and Blancheflour
Were grown ower great witha.
17
When the queen’s maids their visits paid,
Upo the gude Yule-day,
When other ladies got horse to ride,
She boud take foot and gae.
18
The queen she calld her stable-groom,
To come to her right seen;
Says, Ye’ll take out yon wild waith steed
And bring him to the green.
19
‘Ye’ll take the bridle frae his head,
The lighters frae his een;
Ere she ride three times roun the cross,
Her weel-days will be dune.’
20
Jellyflorice his true-love spy’d
As she rade roun the cross,
And thrice he kissd her lovely lips,
And took her frae her horse.
21
‘Gang to your bower, my lily-flower,
For a’ my mother’s spite;
There’s nae other amang her maids,
In whom I take delight.
22
‘Ye are my jewel, and only ane,
Nane’s do you injury;
For ere this-day-month come and gang
My wedded wife ye’se be.’
301
THE QUEEN OF SCOTLAND
‘The Queen of Scotland,’ Buchan’s Ballads of the North of Scotland, I,
46; Motherwell’s MS., p. 577.
A queen in the king’s absence invites young Troy Muir to her bower and
bed; he declines, and the queen resolves to do him an ill turn. She
tells him that if he will lift a stone in the garden he will find in a
pit under the stone gold enough to buy him a dukedom. The next morning
Troy Muir lifts the stone, and a long-starved serpent winds itself
round his middle. A maid comes by and allays the serpent’s rage by
cutting off her pap for him. Troy Muir is immediately released and the
wound in the maid’s breast heals in an hour. Troy Muir marries the maid
the same day; she bears him a son, and by heaven’s grace recovers her
pap thereupon.
The insipid ballad may have been rhymed from some insipid tale.
Motherwell conjectured that Troy Muir stands for Triamour, but the
story here has no sort of resemblance to the romance.
1
‘O Troy Muir, my lily-flower,
An asking I’ll ask thee;
Will ye come to my bigley bower
And drink the wine wi me?’
2
‘My dame, this is too much honour
You have conferrd on me;
I’m sure it’s mair than I’ve deservd
Frae sic a one as thee.’
3
‘In Reekie’s towers I hae a bower,
And pictures round it set;
There is a bed that is well made,
Where you and I shall sleep.’
4
‘O God forbid,’ this youth then said,
‘That ever I drie sic blame
As ever to touch the queen’s bodie,
Altho the king’s frae hame.’
5
When that he had these words spoken,
She secretly did say,
Some evil I shall work this man,
Before that it be day.
6
Whan a’ her maids were gane to bed,
And knights were gane frae hame,
She calld upon young Troy Muir,
To put fire in her room.
7
‘An asking, asking, Troy Muir,
An asking ye’ll grant me;’
‘O, if it be a lawful thing,
My dame it’s granted be.’
8
‘There is a stane in yon garden,
Nae are lifts it for me;
But if that ye woud lift the same,
A brave man I’ll ca thee.
9
‘Under yon stane there is a pit,
Most dreary for to see,
And in it there’s as much red gowd
As buy a dukedom to thee.’
10
‘O if I had ae sleep in bed,
And saw the morning sun,
As soon’s I rise and see the skies,
Your will it shall be done.’
11
When birds did sing, and sun did rise,
And sweetly sang the lark,
Troy Muir to the garden went,
To work this dreary wark.
12
He’s taen the stane then by a ring,
And lifted manfullie;
A serpent that lang wanted meat
Round Troy Muir’s middle did flee.
13
‘How shall I get rid o this foul beast?
It’s by it I must dee;
I never thought the queen, my friend,
Woud work this mischief to me.’
14
But by there came a weelfaird may,
As Troy Muir did tauk,
The serpent’s furious rage to lay,
Cut aff her fair white pap.
15
As soon as she the same had done,
Young Troy Muir was set free,
And in ane hour the wound was heald,
That nae mair pain had she.
16
Says Troy Muir, My lily-flower,
Ye hae releasëd me;
But before I see another day,
My wedded wife ye’se be.
17
He married her on that same day,
Brought her to his ain hame;
A lovely son to him she bare,
When full nine months were gane.
18
As heaven was pleasd, in a short time,
To ease her first sad pain,
Sae was it pleasd, when she’d a son,
To hae a pap again.
302
YOUNG BEARWELL
‘Young Bearwell,’ Buchan’s Ballads of the North of Scotland, II, 75;
Motherwell’s MS., p. 456, derived from Buchan; Motherwell’s Minstrelsy,
p. 345.
This is one of half a dozen pieces sent Buchan by Mr Nicol of Strichen,
“who wrote them from memory as he had learned them in his earlier years
from old people.” It is also one of not a few flimsy and unjointed
ballads found in Buchan’s volumes, the like of which is hardly to be
found elsewhere, that require a respectable voucher, such as Mr Nicol
undoubtedly was, for the other five pieces communicated by him were all
above suspicion, and have a considerable value. It will not, however,
help the ballad much that it was not palmed off on Buchan in jest or
otherwise, or even if it was learned from an old person by Mr Nicol
in his youth. The intrinsic character of the ballad remains, and old
people have sometimes burdened their memory with worthless things.
Young Bearwell and a mayor’s daughter are lovers. Seeing him coming
along one day, the lady tells him that there are such reports in
circulation about him that he will have to sail the sea beyond
Yorkisfauld, which may be beyond Ultima Thule for aught we know.
Bearwell’s life is in danger where he is, and the lady has had the
forethought to build him a ship, in which she sends him off. By the
process of sailing both east and west and then meeting wind from the
north, he is blown to a land where the king and court, who pass their
time mostly in playing ball, put a harp into the hand of every stranger
and invite him to stay and play. Bearwell stays, and perhaps plays,
twelve months. During this time the lady is so beset with suitors that
she feels constrained to apply to a young skipper named Heyvalin to
fetch her true-love back. To do this he must sail first east, then
west, and then have a blast of north wind to blow him to the land.
All this comes to pass; the king and court are playing ball, but
immediately put a harp into Heyvalin’s hand and urge him to stay and
play. Skipper though he be, he falls to playing, and finds Bearwell the
first man in all the company.
“From circumstances,” which do not occur to me, Motherwell would almost
be inclined to trace this piece to a Danish source, “or it may be an
episode of some forgotten metrical romance.” It may also, and more
probably, be the effort of some amateur ballad-monger in northern
Scotland whose imagination was unequal to the finishing of the inane
story which he had undertaken.
1
When two lovers love each other well,
Great sin it were them to twinn;
And this I speak from Young Bearwell;
He loved a lady young,
The Mayor’s daughter of Birktoun-brae,
That lovely, leesome thing.
2
One day when she was looking out,
When washing her milk-white hands,
That she beheld him Young Bearwell,
As he came in the sands.
3
Says, Wae’s me for you, Young Bearwell,
Such tales of you are tauld;
They’ll cause you sail the salt sea so far
As beyond Yorkisfauld.
4
. . . . . . .
. . . . . .
‘O shall I bide in good greenwood,
Or stay in bower with thee?’
5
‘The leaves are thick in good greenwood,
Would hold you from the rain;
And if you stay in bower with me
You will be taken and slain.
6
‘But I caused build a ship for you
Upon Saint Innocent’s day;
I’ll bid Saint Innocent be your guide,
And Our Lady, that meikle may.
You are a lady’s first true-love,
God carry you well away!’
7
Then he sailed east, and he sailed west,
By many a comely strand;
At length a puff of northern wind
Did blow him to the land.
8
When he did see the king and court,
Were playing at the ba;
Gave him a harp into his hand,
Says, Stay, Bearwell, and play.
9
He had not been in the king’s court
A twelvemonth and a day,
Till there came lairds and lords anew
To court that lady gay.
10
They wooed her with brooch and ring,
They nothing could keep back;
The very charters of their lands
Into her hands they pat.
11
She’s done her down to Heyvalin,
With the light of the moon;
Says, Will ye do this deed for me,
And will ye do it soon?
12
‘Will ye go seek him Young Bearwell,
On seas wherever he be?
And if I live and bruik my life
Rewarded ye shall be.’
13
‘Alas, I am too young a skipper,
So far to sail the faem;
But if I live and bruik my life
I’ll strive to bring him hame.’
14
So he has saild east and then saild west,
By many a comely strand,
Till there came a blast of northern wind
And blew him to the land.
15
And there the king and all his court
Were playing at the ba;
Gave him a harp into his hand,
Says, Stay, Heyvalin, and play.
16
He has tane up the harp in hand,
And unto play went he,
And Young Bearwell was the first man
In all that companie.
* * * * * * *
303
THE HOLY NUNNERY
‘The Holy Nunnery,’ Buchan’s Ballads of the North of Scotland, I, 193.
Willie’s father and mother have vowed that he shall never marry Annie.
Annie resolves that she will be a nun, asks her father’s consent and
obtains it readily. At the nunnery-gate there is a maiden porter ‘wi
gowd upon her hat,’ who would not have been quite out of place at the
wicket of the garden of the Rose. Porter though she be, she seems to
exercise the authority of a mother-superior. Annie asks admission,
‘there to live or die,’ and is allowed to come in on terms: never to
kiss a young man’s mouth, and to work hard; conditions not surprising,
but there is another which is unusual, never to go to church (or is
it Kirk that is meant?) Annie is seven years in the nunnery, all
which time Willie lies languishing. His mother asks him if there is
nothing that would help him; there is nothing, he says, but his love
Annie. They dress him up like a lady, in silk and gold, he goes to the
nunnery-gate, and the maiden porter ‘wi gowd upon her hat’ makes no
difficulty about letting him in. Annie knows him, and says, Come up, my
sister dear. Willie essays to kiss her lips, but she whispers, This I
dare not avow. The rest is wanting, and again we may doubt whether the
balladist had not exhausted himself, whether a story so begun could be
brought to any conclusion.
1
Fair Annie had a costly bower,
Well built wi lime and stane,
And Willie came to visit her,
Wi the light o the meen.
2
When he came to Annie’s bower-door,
He tirled at the pin:
‘Ye sleep ye, wake ye, Fair Annie,
Ye’ll open, lat me come in.’
3
‘O never a fit,’ says Fair Annie,
‘Till I your errand ken;’
‘My father’s vowd a vow, Annie,
I’ll tell you when I’m in.
4
‘My father’s vowed a rash vow,
I darena marry thee;
My mither’s vowed anither vow,
My bride ye’se never be.’
5
‘If ye had tauld me that, Willie,
When we began to woo,
There was naithing in this warld wide
Shoud drawn my love to you.
6
‘A nun, a nun,’ said Fair Annie,
‘A nun will I be then;’
‘A priest, a priest,’ said Sweet Willie,
‘A priest will I be syne.’
7
She is gane to her father,
For mither she had nane;
And she is on to her father,
To see if she’d be a nun.
8
‘An asking, asking, father dear,
An asking ye’ll grant me;
That’s to get to the holy nunnery,
And there to live or die.’
9
‘Your asking’s nae sae great, daughter,
But granted it shall be;
For ye’se won to the holy nunnery,
There to live or die.’
10
Then they gaed on, and farther on,
Till they came to the yate;
And there they spied a maiden porter,
Wi gowd upon her hat.
11
‘An asking, asking, maiden porter,
An asking ye’ll grant me;
If I’ll won to the holy nunnery,
There to live or die.’
12
‘Your asking’s nae sae great, lady,
But granted it shall be;
For ye’se won to the holy nunnery,
There to live or die.
13
‘But ye maun vow a vow, lady,
Before that ye seek in;
Never to kiss a young man’s mouth
That goes upon the grun.
14
‘And ye must vow anither vow,
Severely ye must work;
The well-warst vow that ye’re to vow,
Is never to gang to kirk.’
15
‘I will vow a vow,’ she said,
‘Before that I seek in;
I neer shall kiss a young man’s mouth
That goes upon the grun.
16
‘And I will vow anither vow,
Severely I will work;
The well-warst vow that I’m to vow
Is never to gang to kirk.’
17
For seven years now Fair Annie,
In the holy nunnery lay she,
And seven years Sweet Willie lay,
In languish like to die.
18
‘Is there nae duke nor lord’s daughter,
My son, can comfort thee,
And save thee frae the gates o death?
Is there nae remedie?’
19
‘There is nae duke nor lord’s daughter,
Mother, can comfort me,
Except it be my love, Annie,
In the holy nunnery lies she.’
20
They’ve dressd Sweet Willie up in silk,
Wi gowd his gown did shine,
And nane coud ken by his pale face
But he was a lady fine.
21
So they gaed on, and farther on,
Till they came to the yate,
And there they spied a maiden porter,
Wi gowd upon her hat.
22
‘An asking, an asking, maiden porter,
An asking ye’ll grant me;
For to win in to the holy nunnery,
Fair Annie for to see.’
23
‘Your asking’s nae sae great, lady,
But granted it shall be;
Ye’se won into the holy nunnery,
Fair Annie for to see.
24
‘Be she duke’s or lord’s daughter,
It’s lang sin she came here:’
Fair Annie kent her true love’s face;
Says, Come up, my sister dear.
25
Sweet Willie went to kiss her lips,
As he had wont to do;
But she softly whispered him,
I darena this avow.
304
YOUNG RONALD
Buchan’s Ballads of the North of Scotland, II, 282; Motherwell’s MS.,
p. 601, derived from Buchan.
Young Ronald, a noble squire, but still school-boy (11, 29), lays his
love on the daughter of the king of Linne, a locality which, as it
occurs several times in ballads, we are glad to learn is not far from
Windsor. In the course of an interview with the lady in her garden, she
tells him that though she entirely feels the honor he has done her,
she must be subject to her father’s will. Ronald’s father and mother
are greatly concerned for their son, seeing that the lady has already
rejected many suitors. He pays his love a second visit, and protests
that for her sake he would fight long and hard. Be not too hasty, she
answers; you must buckle with a more dangerous foe than you wot of, ere
you win me by war. She proceeds to explain that her father will have to
go to war the next day with a giant who has been very troublesome, and
then to make him various offers with the view of enlisting him in the
affair; among which are two standard rings, one of which will stanch
the blood of any of his men who may be hurt, the other prevent the
drawing of his own blood.
Young Ronald reports to his father the encouragement which he has
received from his love, the impending contest with the giant, and the
gifts which she has made him; and the father, on his part, promises
him a company of a hundred well-armed men. Supported by these, and
invigorated by a third meeting in the garden, Ronald rides proudly to
the field. The giant, who is handicapped with three heads on his neck,
and three more on his breast, challenges the king of Linne to combat,
and the king offers his daughter and a third of his lands to any
champion who will undertake the giant. Ronald is ready, and, according
to the rule in such cases, disdains the offer of any reward but the
daughter. The thought of her gives him a lion’s courage, and such
potency to his arm that he cuts off all the six heads of the giant at
one sweep.
If any lover of ballads should feel his understanding insulted by the
presentation of such a piece as this, I can have no quarrel with him.
There is certainly much in it that is exasperating,--the greeters in
the school, the lifting of the hat, and, most of all, perhaps, the
mint in meadows. These are, however, the writer’s own property; the
nicking with nay and the giant are borrowed from romances. In this and
not a very few other cases, I have suppressed disgust, and admitted an
actually worthless and a manifestly--at least in part--spurious ballad,
because of a remote possibility that it might contain relics, or be a
debased representative, of something genuine and better. Such was the
advice of my lamented friend, Grundtvig, in more instances than those
in which I have brought myself to defer to his judgment.
1
It fell upon the Lammas time,
When flowers were fresh and green,
And craig and cleugh was covered ower
With cloathing that was clean.
2
’Twas at that time a noble squire,
Sprung from an ancient line,
Laid his love on a lady fair,
The king’s daughter o Linne.
3
When cocks did craw, and day did daw,
And mint in meadows sprang,
Young Ronald and his little wee boy
They rode the way alang.
4
So they rode on, and farther on,
To yonder pleasant green,
And there he spied that lady fair,
In her garden alane.
5
These two together lang they stood,
And love’s tale there they taul;
The glancing o her fair color
Did Ronald’s own impale.
6
He lifted’s hat, and thus he spake;
O pity have on me!
For I could pledge what is my right,
All for the sake of thee.
7
‘Ye’re young amo your mirth, kind sir,
And fair o your dull hours;
There’s nae a lady in a’ London
But might be your paramour.
8
‘But I’m too young to wed, kind sir,
You must not take it ill;
Whate’er my father bids me do,
I maun be at his will.’
9
He kissd her then and took his leave,
His heart was all in pride,
And he is on to Windsor gone,
And his boy by his side.
10
And when he unto Windsor came,
And lighted on the green,
There he spied his mother dear,
Was walking there alane.
11
‘Where have ye been, my son, Ronald,
From gude school-house, this day?’
‘I hae been at Linne, mother,
Seeing yon bonny may.’
12
‘O wae’s me for you now, Ronald,
For she will not you hae;
For mony a knight and bauld baron
She’s nickd them a’ wi nae.’
13
Young Ronald’s done him to his bower,
And he took bed and lay;
Nae woman could come in his sight,
For the thoughts o this well-fard may.
14
Then in it came his father dear,
Well belted in a brand;
The tears ran frae his twa gray eyes,
All for his lovely son.
15
Then Ronald calld his stable-groom
To come right speedilie;
Says, Ye’ll gang to yon stable, boy,
And saddle a steed for me.
16
‘His saddle o the guid red gowd,
His bits be o the steel,
His bridle o a glittering hue;
See that ye saddle him weel.
17
‘For I’ve heard greeters at your school-house,
Near thirty in a day;
But for to hear an auld man greet,
It passes bairns’ play.’
18
When cocks did craw, and day did daw,
And mint in meadows sprang,
Young Ronald and his little wee boy
The way they rode alang.
19
So they rode on, and further on,
To yonder pleasant green,
And there they saw that lady fair,
In her garden alane.
20
And twenty times before he ceasd
He kissd her lips sae clear,
And said, Dear lady, for your sake,
I’ll fight fell lang and sair.
21
‘Full haste, nae speed, for me, kind sir,’
Replied the lady clear;
‘Far better bucklings ye maun bide
Or ye gain my love by weir.
22
‘King Honour is my father’s name,
The morn to war maun fare,
And that’s to fight a proud giant,
That’s wrought him muckle care.
23
‘Along wi him he is to take
Baith noble knights and squires;
I woud wish you as well-dressd a knight
As ony will be there.
24
‘And I’ll gie you a thousand crowns,
To part amang your men;
A robe upon your ain body,
Weel sewd wi my ain hand.
25
‘Likewise a ring, a royal thing,
The virtue it is gude;
If ony o your men be hurt,
It soon will stem their blude.
26
‘Another ring, a royal thing,
Whose virtue is well known;
As lang’s this ring your body’s on,
Your bluid shall neer be drawn.’
27
He kissd her then, and took his leave,
His heart was all in pride,
And he is on to Windsor gone,
And his boy by his side.
28
And when he unto Windsor came,
And lighted on the green,
There he saw his auld father,
Was walking him alane.
29
‘Where hae ye been, my son, Ronald,
From gude school-house the day?’
‘O I hae been at Linne, father,
Seeking yon bonny may.’
30
‘O wae’s me for you now, Ronald,
For she will not you hae;
Mony a knight and bauld baron
She’s nickd them a’ wi nay.’
31
‘O had your tongue, my father dear,
Lat a’ your folly be;
The last words that I wi her spake,
Her love was granted me.
32
‘King Honour is her father’s name,
The morn to war maun fare,
And that’s to fight a proud giant,
That’s wrought him muckle care.
33
‘Alang wi him he means to take
Baith knights and noble squires;
And she wishes me as well drest a knight
As ony will be there.
34
‘And she’s gaen me a thousand crowns,
To part amang my men;
A robe upon my ain body,
Weel sewd wi her ain hand.
35
‘Likewise a ring, a royal thing,
The virtue it is gude;
If ony o my men be hurt,
It soon will stem their blude.
36
‘Another ring, a royal thing,
Whose virtue is unknown;
As lang’s this ring my body’s on,
My blude will neer be drawn.’
37
‘If that be true, my son, Ronald,
That ye hae tauld to me,
I’ll gie to you an hundred men,
To bear you companie.
38
‘Besides as muckle gude harness
As carry them on the lee;
It is a company gude enough
For sic a squire as thee.’
39
When cocks did craw, and day did daw,
And mint in meadows spread,
Young Ronald and his merry young men
Were ready for to ride.
40
So they rode on, and farther on,
To yonder pleasant green,
And there they spied that lady fair,
In her garden, sair mourning.
41
These twa together lang they stood,
And love’s tale there they taul,
Till her father and his merry young men
Had ridden seven mile.
42
He kissd her then, and took his leave,
His heart was all in pride,
And then he sprang alang the road
As sparks do frae the gleed.
43
Then to his great steed he set spur;
He being swift o feet,
They soon arrived on the plain,
Where all the rest did meet.
44
Then flew the foul thief frae the west,
His make was never seen;
He had three heads upon ae hause,
Three heads on ae breast-bane.
45
He bauldly stept up to the king,
Seiz’d ’s steed in his right hand;
Says, Here I am, a valiant man,
Fight me now if ye can.
46
‘Where is the man in a’ my train
Will take this deed in hand?
And he shall hae my daughter dear,
And third part o my land.’
47
‘O here am I,’ said young Ronald,
‘Will take the deed in hand;
And ye’ll gie me your daughter dear,
I’ll seek nane o your land.’
48
‘I woudna for my life, Ronald,
This day I left you here;
Remember ye yon lady gay
For you shed mony a tear.’
49
Fan he did mind on that lady
That he left him behind,
He hadna mair fear to fight
Nor a lion frae a chain.
50
Then he cut aff the giant’s heads
Wi ae sweep o his hand,
Gaed hame and married that lady,
And heird her father’s land.
* * * * *
5^3. collar.
5^4. one _for_ own.
14^2. and a.
26^3. ring’s: _cf._ 36^3.
33^1. I mean: _cf._ 23^1.
36^2. Which: _cf._ 26^2.
305
THE OUTLAW MURRAY
=A.=
=a.= ‘The Sang of the Outlaw Murray,’ Herd’s MSS, II, fol. 76; ‘The
Outlaw Murray,’ I, 255. =b.= ‘The Sang of the Outlaw Murray,’ Scott’s
Minstrelsy, second edition, 1803, I, 1. =c.= ‘The Song of the Outlaw
Murray,’ Aytoun’s Ballads of Scotland, 1859, II, 131, “from an old
manuscript in the Philiphaugh charter-chest.” =d.= ‘The Sang of the
Outlaw Murray,’ the copy now extant among the Philiphaugh papers.
=B.= ‘An old song called Outlaw Murray,’ Glenriddell MSS, XI, 61, 1791.
=C.= ‘Outlaw Murray, an antient historical ballad,’ fragments, “Scotch
Ballads, Materials for Border Minstrelsy,” No 31, Abbotsford, in the
handwriting of William Laidlaw.
First printed in Scott’s Minstrelsy, 1802, I, 1.
=A a=, =b=, =c= (disregarding Scott’s interpolations in =b=), do
not differ more than transcripts of one original may be expected to
do, remembering that copyists are apt to indulge in trivial verbal
improvements.[103] =a= was sent David Herd, with a letter dated January
12, 1795, by Andrew Plummer, Sheriff-Depute of Selkirk, as received by
carrier from a lady, who neglected to impart how she came by the copy.
In this instance, contrary to what I believe to be the general rule,
the second volume of Herd’s MSS seems to have the original text.[104]
=a= was printed, but not with absolute fidelity, by Maidment, Scotish
Ballads and Songs, 1868, II, 66. For =b=, “the copy principally
resorted to,” says Scott, “is one, apparently of considerable
antiquity, which was found among the papers of the late Mrs Cockburn
of Edinburgh.” Scott made occasional use of Herd’s MS. and of
Glenriddell’s, inserted some stanzas which he had received from Sheriff
Plummer, and in the second edition (otherwise slightly altered) two
stanzas from the recitation of Mungo Park. Mrs Cockburn’s MS. evidently
agreed very nearly with the copy in Herd, so far as the latter goes.
I much regret that exertions made to secure the Cockburn MS. did
not result successfully. =c.= “From a note appended to the ballad,
explanatory of its circumstances, in which reference is made to Lord
Philiphaugh (a judge of Session) as being then alive,” says Aytoun,
“the manuscript must have been written between the years 1689 and
1702.”[105] The original manuscript, unfortunately and inexplicably, is
no longer in the Philiphaugh archives, and has not come to light after
search. The text, if earlier transcribed, shows no internal evidence
of superior age, and exhibits several inferior readings,--two that are
highly objectionable.[106] =d=, the copy actually preserved among the
Philiphaugh papers, is evinced by a watermark to be not older than
1848. It shows variations from Aytoun’s printed text which cannot be
other than wilful alterations.
=B=, which is both defective, corrupted, and chargeable with flat
repetition, and =C=, a few fragmentary verses, are all that have been
retrieved from tradition, although Scott says that the ballad “has been
for ages a popular song in Selkirkshire.”
A manuscript copy was understood to be in possession of the late Mr
George Wilson, S. S. C., Edinburgh, but, as in the case of the original
of the Philiphaugh MS. and in that of Mrs Cockburn’s copy, inquiry and
search were fruitless.
The king of Scotland is informed that there is an Outlaw in Ettrick
Forest who makes no account of him; the king vows that he will be
king of Ettrick Forest, or the Outlaw shall be king of Scotland. Earl
Hamilton advises that an envoy be sent to the Outlaw to ascertain
whether he is willing to do homage to the king and hold the forest of
him; if the Outlaw should refuse, then they will proceed to extremities
with him. The king sends Boyd, Earl of Arran, to announce his terms:
the Outlaw is to do homage; otherwise he and his lands will be
subjugated, his castle levelled, his wife made a widow, and his men
be hanged. The messenger demands of the Outlaw, in the king’s name,
of whom he holds his lands; the Outlaw replies that the lands are his
own, won by himself from the Southron, and that he recognizes no king
in Christendom. The messenger intimates that it will nevertheless be
necessary for the Outlaw to do homage to the king of Scotland, under
the penalties before mentioned. Many of the king’s nobles shall lie
cold first, he replies. Boyd reports to his master that the Outlaw
claims to hold the forest by his own right, which he will maintain
against all kings in Christendom; the king prepares to enforce his
sovereignty with five thousand men.
The Outlaw vows that the king shall pay dear for his coming, and
sends for succor to three of his kinsmen, all of whom promise help.
As the king approaches the forest, Hamilton ventures to give further
advice: that the Outlaw should be summoned to come with four of his
best men to meet the king and five earls; fire, sword, and forfeiture
to follow upon refusal. The Outlaw bethinks himself of his children,
and complies. He and his company fall on their knees and implore the
king’s mercy; his mercy shall be the gallows, says the king. The Outlaw
protests again that he won his lands from the enemy, and as he won them
so will he keep them, against all kings in Christendom; but having
indulged in this vaunt asks mercy again, and offers to give up the
keys of his castle if the king will constitute him and his successors
sheriffs of the forest. The king, on his part, is equally ready for a
compromise. The Outlaw, on surrendering the keys of his castle, shall
be made sheriff of Ettrick Forest, and shall never be forfeited as long
as he continues loyal, and his men shall have pardon if they amend
their lives. After all the strong language on both sides, the Outlaw
has only to name his lands (but gives a very imperfect list), and the
king (waiving complete particulars) renders him whatever he is pleased
to claim, and makes him sheriff of Ettrick Forest while upwards grows
the tree.
So far all the copies of =A= concur, as to the story, except that =c=
22, 33, by an absurd corruption, makes the Outlaw to have won his
lands, not from the Soudron, the Soudronie, but from Soldan Turk, the
Soldanie; in which respect =A c= is followed by =B= 26, =C= 3, 5.
Between 52 and 53, =b= introduces this passage:
Then spak the kene laird of Buckscleuth,
A stalworthye man and sterne was he:
‘For a king to gang an outlaw till
Is beneath his state and his dignitie.
‘The man that wons yon foreste intill,
He lives by reif and felonie;
Wher_e_fore, brayd on, my sovereign liege,
Wi fire and sword we’ll follow thee,
Or, gif your courtrie lords fa back,
Our borderers sall the onset gie.’
Then out and spak the nobil king,
And round him cast a wilie ee:
‘Now haud thy tongue, Sir Walter Scott,
Nor speik of reif nor felonie,
For had everye honeste man his awin kye,
A right puir clan thy name wad be.’[107]
=B= represents that the king, after appointing a meeting with the
Outlaw ‘in number not above two or three,’ comes with a company of
three hundred, which violation of the mutual understanding naturally
leads the Outlaw to expect treachery. The king, however, not only
proceeds in good faith, but, without any stipulations, at once makes
the Outlaw laird of the Forest.
From the note, otherwise of no value, which accompanies the Philiphaugh
MS., it is clear that the ballad was known before 1700; how much
earlier it is to be put we can neither ascertain nor safely conjecture,
but we may say that there is nothing in the language of the piece as it
stands which obliges us to assign it a much higher antiquity.[108]
As to James Murray, laird of Traquair, whose lands the king had gifted
lang syne, =A= 45^3, 48^1, Sheriff Plummer remarks in Herd’s MS.:
“Willielmus de Moravia had forfeited the lands of ‘trakware’ ante annum
1464. As of that date I have a charter of these lands, proceeding
upon his forfeiture, granted Willielmo Douglas de Cluny.” Thomas Boyd
was created Earl of Arran after his marriage with the eldest sister
of James III, 1467. The Earl of Hamilton is mentioned =A= 7^1, 50^1.
Sheriff Plummer observes that there was an earl of that surname till
1503.
Scott, in his preface in the Border Minstrelsy, after professing
himself unable to ascertain the foundation of the tale, goes on to
state the following historical possibilities:
“This ballad ... commemorates a transaction supposed to have taken
place betwixt a Scottish monarch and an ancestor of the ancient family
of Murray of Philiphaugh in Selkirkshire.... It is certain that during
the civil wars betwixt Bruce and Baliol the family of Philiphaugh
existed and was powerful, for their ancestor, Archibald de Moravia,
subscribes the oath of fealty to Edward I, A. D. 1296. It is therefore
not unlikely that, residing in a wild and frontier country, they
may have, at one period or other during these commotions, refused
allegiance to the feeble monarch of the day, and thus extorted from
him some grant of territory or jurisdiction. It is also certain that,
by a charter from James IV, dated November 30, 1509, John Murray of
Philiphaugh is vested with the dignity of heritable Sheriff of Ettrick
Forest, an office held by his descendants till the final abolition
of such jurisdictions by 28th George II, cap. 23. But it seems
difficult to believe that the circumstances mentioned in the ballad
could occur under the reign of so vigorous a monarch as James IV. It
is true that the _dramatis personæ_ introduced seem to refer to the
end of the fifteenth or beginning of the sixteenth century; but from
this it can only be argued that the author himself lived soon after
that period. It may therefore be supposed (unless further evidence
can be produced tending to invalidate the conclusion) that the bard,
willing to pay his court to the family, has connected his grant of the
sheriffship by James IV with some former dispute betwixt the Murrays
of Philiphaugh and their sovereign, occurring either while they were
engaged upon the side of Baliol, or in the subsequent reigns of David
II and Robert II and III, when the English possessed great part of the
Scottish frontier, and the rest was in so lawless a state as hardly to
acknowledge any superior.
“At the same time, this reasoning is not absolutely conclusive. James
IV had particular reasons for desiring that Ettrick Forest, which
actually formed part of the jointure-lands of Margaret, his queen,
should be kept in a state of tranquillity: Rymer, vol. xiii, p. 66.
In order to accomplish this object, it was natural for him, according
to the policy of his predecessors, to invest one great family with
the power of keeping order among the rest. It is even probable that
the Philiphaugh family may have had claims upon part of the lordship
of Ettrick Forest, which lay intermingled with their own extensive
possessions, and in the course of arranging, not, indeed, the feudal
superiority, but the property of these lands, a dispute may have arisen
of sufficient importance to be the groundwork of a ballad.
“It is farther probable that the Murrays, like other Border clans, were
in a very lawless state, and held their lands merely by occupancy,
without any feudal right. Indeed, the lands of the various proprietors
in Ettrick Forest (being a royal demesne) were held by the possessors,
not in property, but as the kindly tenants, or rentallers, of the
crown.... This state of possession naturally led to a confusion
of rights and claims. The kings of Scotland were often reduced to
the humiliating necessity of compromising such matters with their
rebellious subjects, and James himself even entered into a sort of
league with Johnnie Faa, the king of the gypsies. Perhaps, therefore,
the tradition handed down in this way may have had more foundation than
it would at present be proper positively to assert.”
In the way of comment upon these surmises of Scott, which proceed
mainly upon what we do not know, it may be alleged that we have a
fairly good record of the relations of Selkirkshire to the Scottish
crown during the fourteenth century, when this district was so often
changing hands between the English and the Scotch, and that there is no
indication of any Murray having been concerned in winning it from the
Southron, as is pretended in the ballad, either then or at any time,
so that this part of the story may be set down as pure invention.[109]
Hardly less fictitious seems to be the dispute between the Scottish
king and a Murray, in relation to the tenure. The Murrays first became
connected with Selkirkshire in 1461. John de Moravia then acquired the
lands of Philiphaugh, and was afterwards appointed Custos of Newark
Castle, and came into possession of Hangingshaw and Lewinshope. All
of these are attributed to the Outlaw in the ballad. This John Murray
was a contemporary of Boyd, Earl of Arran, and of the forfeited Murray
of Traquair, but, with all this, nobody has pitched upon him for
the Outlaw; and it would not have been a happy idea, for he was on
perfectly good terms, and even in great favor, with the court under
James III. His grandson, John Murray, was in equal or greater favor
with James IV, and was made hereditary Sheriff of Selkirk in 1509, and
for this last reason has been proposed for the Outlaw, though “nothing
could be more improbable than that this orderly, ‘circumspect,’ and
law-enforcing officer of the crown should ever take up an attitude of
rebellious defiance so diametrically opposed to all we really know of
his character and conduct.”[110]
Scott thought that light might be thrown upon the history of the ballad
by the Philiphaugh family papers. Mr Craig-Brown gave them the accurate
examination which Scott suggested, and came to the same conclusion
as Aytoun, that the story told in the ballad is, if not altogether
fictitious, at least greatly exaggerated. He is inclined to think that
“some clue to the date of the ballad lies in the minstrel’s animus
against the house of Buccleuch” (shown only in =A b=). “James Murray,
tenth laird,” he says, “is the last mentioned in the family MSS as
possessor of Newark, which castle passed into the hands of Buccleuch
either in his lifetime or that of his successor, Patrick Murray. After
the death of James IV at Flodden, the Queen-Regent complained loudly
of Buccleuch’s encroachment upon her dowry lands of Ettrick Forest,
the Custos of which domain had Newark for a residence. Buccleuch
continued to keep his hold, and, as he could only do so by displacing
Murray, the ill-will of the latter family was a natural consequence.
By way of showing the earlier and superior title of the Murrays, the
ballad-writer has either invented the story _in toto_, or has amplified
the tradition of an actual visit paid to a former Murray by the king.
Both Sir Walter Scott and the compiler of the Family Records are of
opinion that John Murray, eighth laird, is the presumptive Outlaw of
the song; and, as he was undoubtedly in great favor with King James
IV, nothing is more likely than that the young monarch may have ended
one of his hunting-expeditions to the Forest by confirming John in his
hereditary sheriffship, interrupted for a few years by the appointment
of Lord Home. As a matter of fact, John Murray did in 1509 obtain a
royal charter from his sovereign, of the sheriffship; but, as the
office had been vacant since 1506, there is nothing improbable in the
supposition that he had already claimed the family rights and taken
possession of the castle. Indeed, in 1503, he acted as sheriff at the
queen’s infeftment in her dowry-lands of Ettrick Forest. It would have
been in thorough keeping with all that is known of James IV if his
Majesty had taken the opportunity to give his favorite a half-jesting
reproof for his presumption; but that Murray was ever seriously
outlawed is out of the question. His king heaped honors on him; and
only eighty years after his death his descendant obtained a feudal
precept of his lands for gratuitous services rendered to the crown by
his family, ‘without default at any time in their due obedience as
became faithful subjects.’ So that, granted a royal progress to Newark,
followed by Murray’s investiture with the sheriffship, the poet remains
chargeable with considerable embellishment. A glorification of the
family of Philiphaugh and a sneer at the rapacity of Buccleuch are the
evident motives of his rhyme.”[111]
“The tradition of Ettrick Forest,” says Scott, Minstrelsy, 2d ed.,
1803, I, 4, “bears that the Outlaw was a man of prodigious strength,
possessing a batton or club with which he laid lee (_i. e._ waste)
the country for many miles round, and that he was at length slain by
Buccleuch or some of his clan.”[112] This account is not in keeping
with the conception of the Outlaw given by the ballad, but indicates
the ferocious robber and murderer, the Cacus of popular story, of
whom no doubt the world was actually once very guilty, and of whom
there are many specimens in British tradition as elsewhere.[113]
As such he seems to turn up again in Galloway, where he haunts a
forest of Kirkcudbrightshire, called the Black Morrow wood, from
which he sallies out “in the neighboring country at night, committing
horrible outrages.” Of this personage, Mactaggart, in his Gallovidian
Encyclopedia, p. 73, says:
“Tradition has him a Blackimore, ... but my opinion is that he was no
Blackimore; he never saw Africa; his name must have been Murray, and as
he must have been, too, an outlaw and a bloody man, gloomy with foul
crimes,[114] Black prefaced it, as it did Black Douglass, and that of
others; so he became Black Murray.” And he adds that this pest was
disposed of by the people pouring a barrel of spirits into a spring one
night when he was out on his rambles, whereof drinking the next day,
he was made drunk and fell asleep, in which condition his foes dirked
him; or according to others, one of the McLellans of Kirkcudbright took
to the wood single-handed, found the outlaw sleeping, and drove a dirk
through his head, whence the head on the dagger in the McLellans’ coat
of arms.[115]
2. The castle, says Scott, is supposed by the common people to have
been the castle of Newark; but “this is highly improbable, because
Newark was always a royal fortress.” The only important point, however,
would seem to be who was the keeper of the castle. The Douglasses
are spoken of as holding it from about 1326 to 1455; John de Moravia
was Custos after 1462. The Outlaw’s five hundred men are shooting on
Newark lee in =A b= 18^4, and Newark lee is twice mentioned elsewhere
in that copy. Sheriff Plummer in his letter to Herd says: This I take
to be the castle of New-wark, on the west end of which are the arms
of Scotland supported by two unicorns. But in Scott’s preface we are
told that Sheriff Plummer has assured the editor that he remembered the
_insignia_ of the unicorns, etc., so often mentioned in the ballad, in
existence upon the old tower at Hangingshaw. Whether the etc. covers
the picture of the knight and the lady bright, and Sheriff Plummer had
therefore changed his opinion, does not appear.
15^3. “Birkendale brae, now commonly called Birkendailly [see =C= 2^1],
is a steep descent at the south side of Minchmoor, which separates
Tweed-dale from the Forest, at the top of which you come first in sight
of New-wark Castle.” Plummer’s letter to Herd.
19. Mr MacRitchie, II, 141 ff., considers that the Lincoln green
dresses of the Outlaw’s men, and perhaps the purple of the Outlaw and
his wife, show that they were “gypsies,” not perhaps of a swarthy
color, but still people “living a certain archaic ‘heathen’ life,” at
any rate a “wild and lawless life,” and “refusing to follow the course
of civilization.” This inference from the costume seems to be not quite
necessary, unless, or even if, all outlaws are “gypsies.” Robin Hood,
in ‘Robin Hood and Queen Katherine,’ is dressed in scarlet red, and his
men in Lincoln green (III, 199, 201). But green is the regular attire
for men who shoot with the bow, III, 76 f., 91. Johnie Cock, when going
out to ding the dun deer down, puts on Lincoln green, III, 3 ff. Will
Stewart, even, when only going to a ball-match, clothes his men in
green, and himself in scarlet red, II, 434, 437.
51. “Penman’s core, generally called Perman’s core [Permanscore in
Scott, ed. 1833], is a nick or hollow on the top of a high ridge of
hills a little to the east of Minchmoor.” Plummer, as before. In =B=
50, poor man’s house; 52, poor man’s score.[116]
A
=a.= Herd’s MSS, II, fol. 76, I, 255, 1795. =b.= Minstrelsy of the
Scottish Border, 1803, I, 1; principally from a copy found among the
papers of the late Mrs Cockburn, of Edinburgh. =c.= Aytoun’s Ballads
of Scotland, 1859, II, 131; “from an old manuscript in the Philiphaugh
charter-chest,” now not accessible. =d.= A copy among the Philiphaugh
papers, transcribed not earlier than 1848.
1
Etrick Forest is a fair foreste,
In it grows manie a semelie trie;
The hart, the hynd, the dae, the rae,
And of a’ [wylde] beastis grete plentie.
2
There’s a castell biggit with lime and stane,
O gin it stands not pleasantlie!
In the fore front o that castell fair
Twa unicorns are bra to see.
3
There’s the picture of a knight and a ladye bright,
And the grene hollin aboon their brie;
There an Outlaw keepis five hundred men,
He keepis a royalle companie.
4
His merrie men are in [ae] liverie clad,
Of the Lincoln grene so fair to see;
He and his ladie in purple clad,
O if they live not royallie!
5
Word is gane to our nobell king,
In Edinburgh where that he lay,
That there was an Outlaw in Etterick forest
Counted him nought and all his courtrie gay.
6
‘I mak a vowe,’ then the goode king said,
‘Unto the man that dear bought me,
I’se either be king of Etrick forest,
Or king of Scotland that Outlaw’s bee.’
7
Then spak the erle hight Hamilton,
And to the noble king said he;
My sovereign prince, sum counsell tak,
First of your nobles, syne of me.
8
‘I redd you send yon bra Outlaw till
And see gif your man cum will he;
Desire him cum and be your man,
And hald of you yon forest frie.
9
‘And gif he refuses to do that,
We’ll conquess both his lands and he,
Or else we’ll throw his castell down,
And mak a widowe of his gaye ladie.’
10
The king called on a gentleman,
James Boyd, Erle of Arran; his brother was he;
When James he came before the king
He fell before him on his knie.
11
‘Welcum, James Boyd,’ said our nobil king,
‘A message ye maun gang for me;
Ye maun hie to Etrick forrest,
To yon Outlaw, where dwelleth he.
12
‘Ask hym of quhom he haldis his lands,
Or, man, wha may his master be;
Desyre him come and be my man,
And hald of me yon forrest frie.
13
‘To Edinburgh to cum and gang
His safe-warrand I sall be;
And, gif he refuses to do that,
We’ll conquess baith his lands and he.
14
‘Thou mayst vow I’ll cast his castell doun,
And mak a widow of his gay ladie;
I’ll hang his merrie men pair by pair
In ony frith where I may them see.’
15
James Boyd took his leave of the nobill king,
To Etrick forrest fair came he;
Down Birkendale brae when that he cam,
He saw the fair forest with his ee.
16
Baith dae and rae and hart and hynd,
And of all wylde beastis grete plentie;
He heard the bows that bauldly ring,
And arrows whidderand near him by.
17
Of the fair castell he got a sight,
The like he nere saw with his ee;
On the fore front of that castell
Twa unicorns were bra to see.
18
The picture of a knight and a ladie bright,
And the grene hollin aboon their brie;
Thereat he spy’d five hundred men,
Shuting with bows upon the lee.
19
They a’ were in ae liverie clad,
Of the Lincoln grene, sae fair to see;
The knight and his ladye in purple clad;
O gif they lived right royallie!
Therefore he kend he was master-man,
And served him in his ain degree.
20
‘God mot thee save, brave Outlaw Murray,
Thy ladie and a’ thy chivalrie!’
‘Marry, thou’s wellcum, gentleman,
Sum king’s-messenger thou seems to be.’
21
‘The King of Scotland sent me hier,
And, gude Outlaw, I’m sent to thee;
I wad wat of whom ye hald your lands,
Or, man, wha may thy master be.’
22
‘Thir landis are mine,’ the Outlaw said,
‘I own na king in Christentie;
Frae Soudron I this forest wan,
When the king nor’s knights were not to see.’
23
‘He desires you’l come to Edinburgh,
And hald of him this forest frie;
And gif you refuse to do this,
He’ll conquess both thy landis and thee;
He has vowd to cast thy castell down,
And make a widow of thy gaye ladie.
24
‘He’ll hang thy merrie men pair by pair,
In ony frith where he may them finde;’
‘Aye, by my troth,’ the Outlaw said,
‘Then wad I think me far behinde.
25
‘Eere the king my fair countrie get,
This land that’s nativest to me,
Mony of his nobils sall be cauld,
Their ladies sall be right wearie.’
26
Then spak his ladye fair of face,
She said, Without consent of me
That an outlaw shuld come before the king:
I am right rad of treasonrie.
27
‘Bid him be gude to his lordis at hame,
For Edinburgh my lord sall never see:’
James tuke his leave of the Outlaw keene,
To Edinburgh boun is he.
28
And when he came before the king,
He fell before him on his knie:
‘Wellcum, James Boyd,’ said the nobil king,
‘What foreste is Etrick forest frie?’
29
‘Etrick forest is the fairest forest
That ever man saw with his ee;
There’s the dae, the rae, the hart, the hynde,
And of all wild beastis great plentie.
30
‘There’s a prittie castell of lime and stone,
O gif it stands not pleasauntlie!
There’s on the fore side of that castell
Twa unicorns sae bra to see.
31
‘There’s the picture of a knight and [a] ladie bright,
And the grene hollin aboon their brie;
There the Outlaw keepis five hundred men,
O gif they live not royallie!
32
‘His merry men in [ae] liverie clad,
O the Lincoln grene, so fair to see;
He and his ladye in purple clad,
O gif they live not royallie!
33
‘He says yon forest is his ain,
He wan it from the Soudronie;
Sae as he won it, sae will he keep it,
Contrair all kings in Christentie.’
34
‘Gar ray my horse,’ said the nobil king,
‘To Etrick [forest] hie will I me;’
Then he gard graith five thousand men,
And sent them on for the forest frie.
35
Then word is gane the Outlaw till,
In Etrick forest where dwelleth he,
That the king was cumand to his cuntrie,
To conquess baith his lands and he.
36
‘I mak a vow,’ the Outlaw said,
‘I mak a vow, and that trulie,
Were there but three men to tak my part,
Yon king’s cuming full deir suld be.’
37
Then messengers he called forth,
And bade them haste them speedilie:
‘Ane of you go to Halliday,
The laird of the Corehead is he.
38
‘He certain is my sister’s son,
Bid him cum quick and succour me;
Tell Halliday with thee to cum,
And shaw him a’ the veritie.’
39
‘What news? what news,’ said Halliday,
‘Man, frae thy master unto me?’
‘Not as ye wad; seeking your aid;
The king’s his mortal enemie.’
40
‘Aye, by my troth,’ quoth Halliday,
‘Even for that it repenteth me;
For, gif he lose fair Ettrick forest,
He’ll take fair Moffatdale frae me.
41
‘I’ll meet him wi five hundred men,
And surely mae, if mae may be:’
[The Outlaw calld a messenger,
And bid him hie him speedily.]
42
‘To Andrew Murray of Cockpool,
That man’s a deir cousin to me;
Desire him cum and make me aid,
With all the power that he may be.
43
‘The king has vowd to cast my castell down,
And mak a widow of my gay ladye;
He’ll hang my merry men pair by pair
I[n] ony place where he may them see.’
44
‘It stands me hard,’ quoth Andrew Murray,
‘Judge if it stands not hard with me,
To enter against a king with crown,
And put my lands in jeopardie.
45
‘Yet, gif I cum not on the daye,
Surelie at night he sall me see:’
To Sir James Murray, laird of Traquair,
A message came right speedilie.
46
‘What news? what news,’ James Murray said,
‘Man, frae thy master unto me?’
‘What needs I tell? for well ye ken
The king’s his mortal enemie.
47
‘He desires ye’ll cum and make him aid,
With all the powers that ye may be:’
‘And, by my troth,’ James Murray said,
‘With that Outlaw I’ll live and die.
48
‘The king has gifted my lands lang syne,
It can not be nae war with me;’
. . . . . . . .
. . . . . . . .
49
The king was cumand thro Cadden ford,
And fiftene thousand men was he;
They saw the forest them before,
They thought it awsom for to see.
50
Then spak the erle hight Hamilton,
And to the nobil king said he,
My sovereign prince, sum counsell take,
First at your nobles, syne at me.
51
‘Desyre him meet you at Penman’s Core,
And bring four in his cumpanie;
Fyve erles sall gang yoursell before,
Gude cause that you suld honord be.
52
‘And, if he refuses to do that,
Wi fire and sword we’ll follow thee;
There sall never a Murray after him
Have land in Etrick forest frie.’
53
The king then called a gentleman,
Royal-banner-bearer then was he,
James Hope Pringle of Torsonse by name;
He came and knelit upon his knie.
54
‘Welcum, James Pringle of Torsonse;
Ye man a message gae for me;
Ye man gae to yon Outlaw Murray,
Surely where bauldly bideth he.
55
‘Bid him meet me at Penman’s Core,
And bring four of his companie;
Five erles sall cum wi mysell,
Gude reason I suld honord be.
56
‘And if he refuses to do that,
Bid him look for nae gude o me;
There sall never a Murray after him
Have land in Etric forest frie.’
57
James came before the Outlaw keene,
And served him in his ain degree:
‘Wellcum, James Pringle of Torsonse,
What tidings frae the king to me?’
58
‘He bids you meet him at Penman’s Core,
And bring four of your companie;
Five erles will cum with the king,
Nae more in number will he be.
59
‘And gif you refuse to do that,
I freely here upgive with thee,
There will never a Murray after thee
Have land in Etrick forest frie.
60
‘He’ll cast your bonny castell down,
And make a widow of your gay ladie,
He’ll hang your merry men pair by pair
In ony place where he may them see.’
61
‘It stands me hard,’ the Outlaw said,
‘Judge if it stands not hard with me;
I reck not of losing of mysell,
But all my offspring after me.
62
‘Auld Haliday, young Haliday,
Ye sall be twa to gang wi me;
Andrew Murray and Sir James Murray,
We’ll be nae mae in cumpanie.’
63
When that they came before the king,
They fell before him on their knee:
‘Grant mercy, mercy, royal king,
Een for his sake who died on tre!’
64
‘Sicken-like mercy sall ye have,
On gallows ye sall hangit be;’
‘God forbid!’ quo the Outlaw then,
‘I hope your Grace will better be.
65
‘These lands of Etrick forest fair,
I wan them frae the enemie;
Like as I wan them, sae will I keep them,
Contrair all kings in Christentie.’
66
All the nobilis said, the king about,
Pitye it were to see him die:
‘Yet graunt me mercye, sovereign prince,
Extend your favour unto me!
67
‘I’ll give you the keys of my castell,
With the blessing of my fair ladie;
Mak me the sheriff of the forest,
And all my offspring after me.’
68
‘Wilt thou give me the keys of thy castell,
With the blessing of thy fair ladye?
I’ll mak the[e] shiryff of the forest,
Surely while upwards grows the trie;
If you be not traytour to the king,
Forfaulted sall ye never be.’
69
‘But, prince, what sall cum o my men?
When I go back, traitour they’ll ca me;
I had rather lose my life and land,
Eer my merry men rebukëd me.’
70
‘Will your merry men amend their lives
And all their pardouns I grant thee:
Now name thy landes whe’ere they be,
And here I render them to thee.’
71
‘Fair Philiphaugh, prince, is my awin,
I biggit it wi lime and stane;
The Tinnies and the Hangingshaw,
My leige, are native steeds of mine.
72
‘.. .. .. .
. . . . . . .
I have mony steeds in the forest shaw,
But them by name I dinna knaw.’
73
The keys of the castell he gave the king,
With the blessing of his fair ladye;
He was made sheryff of Etrick forest,
Surely while upward grows the trie;
And, if he was not traytour to the king,
Forfaulted he suld never be.
74
Wha ever heard, in ony tymes,
Sicken an outlaw in his degree
Sic favour get before a king
As did the Outlaw Murray of the forest frie?
B
Glenriddell’s MSS, XI, 61, 1791.
1
Etterick Forest’s a pleasant land,
And it grows mony a bonny tree;
With buck and doe and a’ wild beast,
A castle stands right bonnilie.
2
Yon castle has twa unicorns,
The like I never saw wi my ee,
The picture of a knight and lady bright,
And the green hollin’s aboon her [bree].
3
Word is gane to Edinbro town
. . . . . . .
That there’s an Outlaw in Etterick forest
That keeps as fine a court as he.
4
The king has sworn a solemn oath,
And he has sworn by [the Virgin Mary],
He would either be king of Etterick forest,
Or king of Scotland the Outlaw should be.
5
He has ca’d up Mr James Boyd,
A highland laird I’m sure was he:
‘Ye must gae to Etterick forest
And see of wha he hads his land,
And wha pays yon men meat and fee.’
6
He’s tane his leave o the king and court,
Een as hard as he may dree;
When he came in o’er Loudon edge,
He viewed the forest wi his eee.
7
He thought it was as pleasant a land
As ever his two eyes did see,
But when he came in oer ...,
They were a’ ranked on Newark lee.
8
O waly, but they were bonny to see!
Five hundred men playing at the ba;
They were a’ clad in the Lincoln green,
And the Outlaw’s sell in taffety.
9
‘Weel met you save, Outlaw,’ he says,
‘You and your brave companie;
The King of Scotland hath sent me here,
To see whom on you hold your lands,
Or who pays thir men meat and fee.’
10
The first ae man the answer made,
It was the Outlaw he:
‘The lands they are all mine,
And I pay thir men meat and fee,
And as I wan them so will I lose them,
Contrair the kings o Cristendie.
11
‘I never was a king’s subject,
And a king’s subject I’ll never be;
For I wan them i the fields fighting,
Where him and his nobles durst not come and see.’
12
O out bespeaks the Outlaw’s lady,
I wot she spake right wisely;
‘Be good unto your nobles at home,
For Edinbro mine shall never see;’
But meat and drink o the best I’m sure got he.
13
He has taen his leave o the Outlaw free,
And een as hard as he may dree,
While he came to the king’s court,
Where he kneeld low down on his knee.
14
‘What news? what news, James,’ he says,
‘Frae yon Outlaw and his company?’
‘Yon forest is as fine a land
As ever I did see.
15
‘Yon Outlaw keeps as fine a court
As any king in Cristendie;
Yon lands they are here all his own,
And he pays yon men meat and fee,
And as he wan them so will he lose them,
Contrair the kings of Cristendie.
16
‘He never was a king’s subject,
And a king’s subject he’ll never be;
For he wan them in the fields fighting,
Where the king and his nobles durst not come to see.’
17
The king has sworn a solemn oath,
And he has sworn by the Virgin Mary,
He would either be king of Etterick forest,
Or king of Scotland the Outlaw should be.
18
The king has ca’d up Mr James Pringle,
Laird of Torson[s]e at the time was he:
‘Ye must gae to Etterick forest,
And see wha of he hads his land,
And wha pays yon men meat and fee.’
19-25==6-12.
26
‘And as I wan them so will I lose them,
Contrair the kings o Cristendie;
I wan them frae the Soudan Turk,
When their cuckold king durst not come to see;
For I wan them in the fields fighting,
Where him and his nobles durst not come to see.’
27-32==12-17.
33
‘Gar warn me Perthshire and Angus both,
Fifeshire up and down, and Loudons three,
For I fear of them we hae great need,
. . . . . . . .’
34
Then word is come to the Outlaw then,
‘Our noble king comes on the morn,
Landless men ye will a’ be;’
He’s called up his little foot-page,
His sister’s son I trow was he.
35
‘Ye must tak Etterick head
Een as hard as ye can drie;
Ye must gae to the Corhead and tell
Andrew Brown this frae me.
36
‘The noble king comes in the morn,
And landless men we will a’ be;
. . . . . . .
And tell him to send me some supply.’
37
The boy has taen Etterick head,
And een as hard as he may drie,
Till he came to the Corhead,
And he shouted out and cry’d well he.
38
‘What news? what news, my little boy?
What news has thy master to me?’
‘The noble king comes in the morn,
And landless then ye will a’ be.
39
‘Ye must meet him on the morn,
And mak him some supply;’
‘For if he get the forest fair frae him,
He’ll hae Moffat-dale frae me.
40
‘I’ll meet him the morn wi five hundred men,
And fifty mair, if they may be;
And if he get the forest fair
We’ll a’ die on the Newark lee.’
41
Word is gane to the Border then,
To . . ., the country-keeper I’m sure was he:
‘The noble king comes in the morn,
And landless men ye will a’ be.’
42
‘I’ll meet him the morn wi five hundred men,
And fifty mair, if they may be;
And if he get the forest fair,
We’ll a’ die on the Newark lee.’
43
Word is gane to Philiphaugh,
His sister’s son I’m sure was he,
To meet him the morn wi some supply,
‘For the noble king comes in the morn,
And landless men ye will a’ be.’
44
‘In the day I daur not be seen,
For he took a’ my lands frae me
And gifted me them back again;
Therefore against him I must not be;
For if I be found against him rebel,
It will be counted great treason[rie].
45
‘In the day I daur not be seen,
But in the night he shall me find
With five hundred men and fifty, if they may be,
And before he get the forest fair
We’ll a’ die on the Newark lee.’
46
When the king came in oer Loudon edge,
Wi three thousand weel teld was he,
And when he came in oer ...
He viewd that forest wi his ee.
47
The Outlaw and his men were a’
Ranked on the Newark lee;
They were a’ clad in the Lincoln green,
And he himsell in the taffety.
48
An auld grey-haird knight has taen aff his cap,
. . . . . . .
‘Pardon, pardon, my sovereign liege,
Two or three words to speak wi you.
49
‘If you please to send for the Outlaw,
To see if he could with you agree,
There’s not a man yon Outlaw has
But of yours he’ll choose to be.’
50
The king he has taen af his cap,
He held it on his majesty;
‘I’ll meet him the morn at the poor man’s house,
In number not above two or three;’
The Outlaw says, I’ll hae as few as thee.
51
‘There’s Andrew Brown, and Andrew Murray,
And Mess James Murray shall gang wi me,
. . . . . . . .
And nae mae shall my number be.’
52
And when they came to the poor man’s core
They waited two lang hours or three,
And they were aware of the noble king coming.
And hundreds three in his company.
53
‘I wonder what the muckle Deel
He’ll learned kings to lie,
For to fetch me here frae amang my men
Even like a dog for to die;
But before I gang to Edinbro town
Monny toom saddles shall there be.’
54
The king he has taen aff his cap;
. . . . . .
‘It [were] great offence here,’ he says,
‘And great pity to see thee die.
55
‘For thou shalt be laerd o this forest fair
As lang as upwards grows the tree
And downward the twa rivers run,
If the steads thou can but rightly name to me.’
56
‘There’s Hangingshaw high and Hangingshaw laigh,
. . . . . . .
The Tinis and the Tinis-burn,
The Newark and the Newark lee.’
* * * * * * *
C
“Scotch Ballads, Materials for Border Minstrelsy,” No 31, Abbotsford;
in the handwriting of William Laidlaw.
1
‘Gae fetch to me James Pringle wi hast,
An see that he come speedilie,
For he maun on to Ettrick forest,
An see whae pays yon men meat and fee.’
2
When James Pringle cam down oer Birkendalee,
The hawks war yellin right loudlie,
The hunds war rinnin oer hill and dale,
As the bugle-horn soundit bonnilie.
3
‘Gae tell yer king this land’s my ain,
An to thir men I pay meat and fee;
I took it thrae the Souden Turk,
When nae sic cuckold king might be.
4
‘Sae as I wan, sae will I lose,
Spite o the kings in Christendie;
I never was a king’s subject,
Nor a king’s subject will I ever be.’
5
‘Outlaw Murray says yon land’s his ain,
And to yon men he pays meat and fee;
He took it frae the Souden Turk,
When you and your men durstna come and see.’
6
It was than the king he gat up in hast,
An wow an angrie man was he!
‘I’se either be king o Ettrick forest,
Or king o Scotland sal he be.
7
‘Gar warn me Fife an a’ Lothian land,
An Perth an Angus, to ride wi me,
For gin we war five thousan strang
Master and mair I fear he’ll be.’
8
When the king came oer be Birkendalee,
He spy’d the forest wi his ee;
There war daes an raes an monie wild beast,
An a castle stannin right bonnilie.
9
An in that castle a unicorn,
An, waly, but they war fair to see!
A warlike knight and a lady bright,
An the green halleen aboon her bree.
10
An Outlaw Murray an his merry men
War a’ rankit up i the Newark lee,
Well mountit on a milk-white steed;
Waly, he rankit them bonnilie!
11
His men war a clad oer wi green,
An he was clad i the taffatie,
Wi belt an pistle by his side;
O waly, but they war fair to see!
* * * * * * *
12
‘Haliday young an Haliday auld,
Ye ir the men that man ride wi me;
But gin we war five hunder strang
Master an mair I fear they’ll be.’
* * * * * * *
13
‘Philliphaugh it is my ain,
An Newark it belangs to me;
Lewinshope an Hanginshaw
Nae mortal man can claim thrae me.’
* * * * * * *
14
It was than James Boyd got up in hast,
An to his merry men a’ spak he;
. . . . . . .
. . . . . . .
* * * * *
=A.=
=a.=
_The division of stanzas as made in the MS. has been changed in
19^5-23^6, 68^5-73^6. Of course all the stanzas were originally of
four verses, but in some cases it is not now possible to determine at
what points verses have been lost. Two lines are in the MS. indicated
(conjecturally, no doubt) to have dropped out after 41^2, 48^2, 70^4.
41^{3,4} have been supplied from the copy in Herd’s first volume.
There are asterisks in Herd_ =I= _after 52^4._
1^4. _Cf._ 16^2, 29^4, _and_ =b=.
4^1, 32^1. _Cf._ 19^1 _and_ =b=. _But_ =c= _agrees with_ =a=.
5^1. _Side note in MS._: James II, 1454.
31^4. lived.
34^2. _Cf._ =b=, =c=.
_Variations in Herd, I (not regarding spelling)._ 2^4, 4^1. are
_wanting_. 3^2. the brie.
3^3. hundir.
5^4. his country.
6^1. then _wanting_.
11^4. he dwelleth he.
16^4. him near by.
17^3. fair front.
21^3. land.
31^1. and a.
31^3. keeps him: hunder.
35^1. Outlaws (_wrongly_).
41^{3,4}. _As supplied in the text._ _Cf._ =c=.
58^2. bring him four.
58^4. Nae mae.
62^4. nae mair.
63^4. sake that.
65^1. Thir.
68^3. mak thee.
68^4. upward.
=b.=
1^3. There’s hart and hynd and dae and rae.
1^4. wilde beastes.
2^1. a feir.
3^3. keeps.
4^1. are a’ in ae.
4^2. sae gaye.
4^4. gin they lived.
5^4. nor a’.
6^4. outlaw sall.
7^1, 50^1. the lord.
7^4. at your: at me.
8^1. ye.
9^1. And _wanting_.
9^2, 12^1, 13^4, 21^3, 35^4, 44^4, 48^1, 65^1, 70^3. landis.
10^1. then called a.
10^2. the erle.
10^4. He knelit.
11^4. where bydeth.
12^3. And desyre.
13^2. sall gie.
16^4. hym neir bi.
17^1. Of that.
17^3. castell feir.
17^4. were gaye.
18^4. on Newark lee.
19^1. were a’.
19^2. sae gaye.
19^4. 1802, gin. 1803, _instead of_ 19^{3,4}:
His men were a’ clad in the grene,
The knight was armed capapie,
With a bended bow, on a milk-white steed,
And I wot they ranked right bonilie.
19^5. Thereby Boyd.
20^4. seemis.
22^2. I ken.
22^4. his knightis.
23^3, 37^3, 58^1. ye.
23^5. hath.
25^3, 50^4. nobilis.
26^3. befor a.
27^3. James Boyd.
28^1. When James he.
28^2. He knelit lowlie on: seyd our.
30^3. in the forefront.
31^1. and a.
31^2. Wi the.
31^4. He keepis a royalle cumpanie.
32^1. in ae.
32^2. sae gaye.
32^4. gin.
33^2. frae the Southronie.
33^4, 65^4. kingis.
34.
‘Gar warn me Perthshire and Angus baith,
Fife up and down and the Louthians three, (_cf._ =B= 33^{1,2})
And graith my horse,’ said the nobil king,
‘For to Ettricke Foreste hie will I me.’
35^3. 1803, cuming.
36^4. 1802, cumand.
37^2. hie them.
37^3, 69^2. gae.
38^{3,4}.
The king cums on for Ettricke Foreste,
And landless men we a’ will be. (_Cf._ =B= 34.)
40^1. said.
41^2. surely mair.
_Between 41^{1,2} and 41^{3,4}_:
And before he gets the Foreste feir,
We a’ will die on Newark Lee. (_Cf._ =B= 40.)
41^{3,4}.
The Outlaw calld a messenger,
And bid him hie him speedilye.
43. _wanting_.
44^1. Andrew Murray said.
44^2, 61^2. gif: na.
44^4. And set.
45^1. if.
45^3. laird _wanting_.
47^{1,2}.
And now he is cuming (1802, cumand) to Ettricke Foreste,
And landless men ye a’ will be. (_Cf._ =B= 41^{3,4}).
47^4. will I live.
48^2. 1802, canna: warse.
49^1. 1803, cuming.
49^2. full five.
49^3. the derke.
50^3. sovereign liege.
51^1. mete thee.
52^1, 56^1. gif.
52^2. We’ll conquess baith his landis and he.
52^4. Hald.
_Between 52 and 53_:
Then spak the kene laird of Buckscleuth,
A stalworthye man and sterne was he;
‘For a king to gang an Outlaw till
Is beneath his state and his dignitie.
‘The man that wons yon Foreste intill,
He lives by reif and felonie;
Wherefore, brayd on, my sovereign liege,
Wi fire and sword we’ll follow thee; (_see_ =a= 52^2)
Or, gif your courtrie lords fa back,
Our borderers sall the onset gie.’
Then out and spak the nobil king,
And round him cast a wilie ee;
‘Now haud thy tongue, sir Walter Scott,
Nor speik of reif nor felonie,
For, had everye honeste man his awin kye,
A right puir clan thy name wad be.’
53^2. there was.
53^3. Hop.
54^2. A message ye maun gang.
55^2, 58^2. four in.
57^4. What message.
58^3. erles sall gang himsell befor.
59^{3,4}.
He’ll cast yon bonny castle down,
And mak a widowe o that gaye ladye.
60.
He’ll loose yon bluidhound borderers
Wi fire and sword to follow thee;
There will nevir a Murray after thysell
Have land in Ettricke Foreste frie.
61^3. Wha reck not losing.
_After 61_:
My merryemen’s lives, my widowe’s teirs,
There lies the pang that pinches me!
When I am straught in bluidie eard,
Yon castell will be right dreirie.
63^3. nobil king.
63^4. sake that.
64^3. Over God’s forbode, quoth.
_After 64^4 (added in 1803)_:
Else ere ye come to Edinburgh port
I trow thin guarded sall ye be.
65^1. Thir.
65^2. from.
66^1. said _wanting_.
66^2. Said pitie.
67^1. give thee.
67^2, 68^2. gaye _for_ fair.
67^3. Gin thoult mak me sheriffe of this.
68^3. I’se: of Ettricke Foreste.
68^6. sall thou.
70^3. they lie.
71. 1802.
Fair Philiphaugh, prince, is my ain,
But and a part of the Newark lee,
The Finnies and the Hangingshaw,
My liege, are native steads to me.
1803.
Fair Philiphaugh is mine by right,
And Lewinshope still mine shall be;
Newark, Foulshiells and Tinnies baith
My bow and arrow purchased me.
72^{1,2}. 1803.
And I have native steads to me
The Newark lee and Hangingshaw;
73^4. upwards.
73^5. was na.
=c.=
_This copy agrees closely, as to substance, with_ =a=. _After 50^4
it has two lines, partially corrupted, which do not occur in_ =a=,
_and it lacks st. 60, which, it is to be observed, does not occur
in the king’s instructions to Pringle, 54-56 (though found in the
instructions to Boyd, 14), and was therefore not to be expected.
Verbal differences are numerous, but in only a very few cases of the
least importance, and in these for the worse._
1^4, 16^2, 29^4. wild beasts.
2^1. builded of.
2^3. There’s in.
2^4. is braw.
3^1. and lady.
3^{3,4}, 31^3. keeps.
4^1. men’s in livery.
4^2. is fair.
4^4. O gin.
5^4. country.
6^1. then _wanting_.
6^4. sall be.
7^1, 26^1. spoke.
7^4. good nobles, and syne.
8^2, 45^1, 59^1. if.
8^2. yon man.
8^3, 12^3, 42^3, 51^1, 55^1. him to.
9^1, 13^3, 19^4, 23^3, 30^2, 31^4, 32^4, 40^3. gin.
9^1, 13^3. refuse.
9^2, 13^4, 23^4, 35^4. conqueist.
9^3. we’ll cast.
9^4, 14^2, 23^6, 43^2. his (thy, my) fair.
10^2. and his brother-in-law.
11^1. said the.
11^2. gae.
11^3. to fair E.
12^1. holds.
12^4. yon fair forrest of me.
13^1, 15^2, 44^3. Till.
14^1. may: I’se.
16^3. There heard he bows did.
16^4. whithering him near by.
17^1. the great.
17^3. the castle he saw.
17^4. unicorns so braw.
19^1. They were all in ane.
19^4. not royallie.
19^5. he knew.
19^6. He served.
20^1. Good mot ye.
20^2. Thy fair lady and thy.
21^1. he sent.
21^4. may your.
22^1. lands is.
22^2. And I ken.
22^3. From Soldan Turk.
22^4. king and his men was.
23^1. ye, man, to come.
23^3. ye.
24^3. Then.
24^4. will I.
25^2. Thir lands.
25^3. they sall lie.
26^2. Said she.
26^3. That any: enter before a.
26^4. rad for.
27^1. lords.
27^3. leave at.
27^4. Unto: bound he.
29^1. is ane of the: forrests.
30^3. that fair c.
31^1. There’s _wanting_: and a.
31^3. There an.
31^4. live.
32^1. is in l.
32^2. is fair.
33^1. is truely his.
33^2. He says he: Soldanie.
33^3. Like as: he loss it.
34^2. In E. Forrest.
34^4. And made for.
35^1. to the.
35^2. where lay.
35^3. coming to this.
35^4. And ould.
36^3. Will: men take.
36^4. Your: sall.
37^2. speed them.
38^1. Be certain he.
38^2. And bid him come and.
38^3. Till Halliday till that he come.
38^4. You show.
39^3. Nought.
40^1, 44^1. said.
40^3, 69^3. loss.
41^2. if I.
41^{3,4} _wanting_.
42^1. Laird of.
42^4, 47^2. that _wanting_.
44^2, 61^2. O gin it.
45^2. in the night ye.
45^4. right hastilie.
46^3. needs me.
47^1. desired ye to.
48^1. he’s.
48^2. no worse for.
49^1. coming oer Cadron.
49^4. awfu.
50^2. Unto.
50^4. First of: and then of.
_After 50^4_:
Yet I reid you send yon Outlaw till,
And if you man them, come will he.
(_Repetition, with corruption, of 8^{1,2}._)
51^2. four of the best of.
51^3, 62^2. gae.
51^3, 55^3. aun sell.
51^4. Good reason you.
52^2. follow will we.
52^3. never after him again.
53^1. king he called.
53^2. bearer of Scotland.
53^3. Hoppringle.
53^4. on.
54^1, 57^3. Laird of.
54^{2,3}. Thou.
55^1. Desire.
55^2, 58^2. Bring four of the best of the (your).
55^4. reason in some part I.
56^2. good from.
57^4. What biddings.
58^1. desires you to.
58^4. Nae mae.
59^1. ye.
59^2. Truelie here I.
60 _wanting_.
61^3. What rack of the.
62^3. Sir _wanting_.
63^4. sake that.
64^1. Siccan mercie you sal.
64^2. sal you.
64^3. said the O. syne.
65^1. The.
65^2. from.
65^3. sae will I loss.
66^1. noblemen.
66^2. Pitie, Outlaw: see thee.
66^4. Let your favour be given to.
67^1. my fair.
67^3. Why, ye will make me sheriff: the fair.
68^1. Will ye: your.
68^2. of your.
68^3. of Ettrick Forrest.
68^5. If ye be not a: to your.
68^6. Forfeited.
69^1. But alace, prince: become.
69^3. lands.
70^1. thy.
70^2. grant I frie.
70^3. where.
71^4. Prince, they are native lands.
72^4. But well their names I do not.
73^3. He made him.
73^6. a traitor to the crown.
73^6. should he.
74^1. any time.
74^2. Sic ane Outlaw.
74^4. Outlaw in the Forrest.
=d.=
_The MS. extant in the Philiphaugh archives exhibits, besides many
differences of spelling, the following variations in reading from_ =c=
_as printed by Aytoun_:
5^1. _Side note_: Jas the 2d, 1454.
17^4. is bra _for_ so braw.
19^2. is fair _for_ so fair.
21^4. mak _for_ man, _wrongly_.
22^3. From Soudron _for_ From Soldan Turk.
24^2. see _for_ find.
26^2. said _wanting_, _wrongly_.
33^2. Soudonie _for_ Soldanie.
33^3, 65^3. tyne _for_ loss.
38^3. Tell _for_ Till.
40^4. Mosaldale _for_ Moffat-dale.
43^2. ane _for_ a.
45^2. he _for_ ye.
48^2. work _for_ worse, _wrongly_.
50^4. syne _for_ then.
51^1, 55^1, 58^1. Penman score, _wrongly_.
52^1, 56^1. refuse _for_ refuses.
56^2. frae _for_ from.
65^1. Thir _for_ the.
73^2. With his _for_ With the, _wrongly_.
=B.=
_The division of stanzas has been rearranged._
5^2. “Reciters,” _says Scott_, “sometimes call the messenger the laird
of Skene.”
21==8.
21^3. the _wanting_.
21^4. in the.
22==9.
22^4. land.
24==11.
24^4. come to.
35^3. Carhead.
50, 54. _Passing over the king’s taking off his cap to an outlaw,
which is monstrously_ ‘beneath his state and his dignitie,’ _I can
make nothing of the line which succeeds in each of these stanzas_.
52^1. score _for_ core.
=C.=
14. _Displaced. James Boyd should of course come in before James
Pringle._
FOOTNOTES:
[103] That the four copies of =a= are transcripts from writing, and
not from oral recitation, will be obvious when we observe their
correspondence. The first thirty stanzas of =a=, =b=, have the same
lines in the same order, and with an approach to verbal agreement.
There is not so close a concurrence after 30, but still a virtual
concurrence, excepting that =b= inserts sixteen lines between 52 and
53 which the other copies lack. =c= has throughout the same lines
as =a=, in the same order (with verbal differences), excepting that
=c= introduces two lines after 50^4 (which are a repetition, with
corruption, of 8^{1,2}), and that =a= repeats 43 at 60, which =c= does
not. =d= has only a few verbal variations from =c=.
[104] Plummer’s letter follows the ballad in the second volume, but is
not given in the first.
[105] Rather 1708. Sir James Murray was appointed an ordinary Lord
of Session October 28, 1689, and took his seat as Lord Philiphaugh
November 1. In 1702 he was appointed Lord Clerk Register, and this
place he held, except a short interval, till his death, July 1, 1708.
(T. Craig-Brown, History of Selkirkshire, II, 345 f.)
[106] I mean Soldan Turk, =c= 22^3, for Soudron, =a=, =b=, =d=, and
Soldanie, =c= 33^2, for Soudronie, Southronie, =a=, =b=. (Soudan Turk,
also =B= 26^3, Souden Turk, =C= 3^3, 5^3.) Nothing is easier than the
corruption of Soudron into Soudan, upon which change the addition
of Turk would be all but inevitable. The corruption would be likely
to be made by one who had heard of an irruption of Saracens (or, if
you please, Moors) into Galloway. (See note, p. 190.) The winning
of Ettrick Forest by and from the Southron is historical, and this
pretends to be an historical poem.
[107] “The feud betwixt the Outlaw and the Scots may serve to explain
the asperity with which the chieftain of that clan is handled in the
ballad.” Were it not for these words in Scott’s preface, I should have
been inclined to think that this humorous episode came from the hand of
the editor of ‘Kinmont Willie.’ It is quite in Scott’s way, and also in
contrast with the tone of the rest of the narrative. If the author of
the ballad was capable of this smartness, he ought to have been aware
that the Outlaw (not to say the king), after all his bluster, cuts a
ridiculously tame figure in the conclusion. I now observe that the line
‘Wi fire and sword we’ll follow thee’ is in =A a=, 52^2, and nearly the
same in =c=; which suggests that something may have been lost in the MS.
[108] =A= 22^{3,4} might be a reminiscence of ‘Johnie Armstrong,’ =C=
27^{3,4}, III, 371. =C= 3^{3,4} (from recitation) agrees strikingly
with the stanza cited III, 363, note *; but this fact is of not the
least importance. Mr Macmath notes that =A a= 1^3, ‘The hart, the hynd,
the dae, the rac,’ occurs in Alexander Montgomerie’s Cherrie and the
Slae, Edinburgh, 1597.
[109] Mr David MacRitchie, in his very interesting Ancient and Modern
Britons, a book full of novel matter and views, accepts the ballad as
“partly true,” apparently to the extent “that this ‘outlaw’ was as yet
an actual, independent king, and that modern Selkirkshire was not a
part of Scotland:” and this whether the king of Scotland was James IV
or an earlier monarch, II, 136-139. This is pitting the ballad against
history.
[110] Craig-Brown, II, 336-338.
[111] History of Selkirkshire, II, 355-357; see also p. 338.
[112] An account varying as to the place where the Outlaw was slain
specifies Scott of Haining as the author of his death. John Murray,
the Sheriff, was killed in 1510, and Andrew Ker and Thomas Scot were
charged with the act, traditionally put to the account of Buccleuch and
his clan, and, in particular, of Scott of Haining. (Craig-Brown, II,
338.)
[113] See Mr MacRitchie’s Ancient and Modern Britons, I, 156 ff., 136
ff., for these monsters, often described as black, in which sense, it
is maintained, Murray (Morrow, Moor) is frequently to be understood.
[114] More of this Murray in Historical and Traditional Tales,
Kirkcudbright, 1843, p. 112.
[115] “Sometimes it [the crest] represents some valiant act done by the
bearer; thus McClelland of Bombie did, and now Lord Kirkcudbright does,
bear a naked arm supporting on the point of a sword a More’s head,
because, Bombie being forfeited, his son killed a More who came in with
some Sarazens to infest Galloway, to the killer of whom the king had
promised the forfeiture of Bombie, and thereupon he was restored to his
father’s land.” Sir George Mackenzie, The Science of Herauldry, 1680,
p. 90. (This reference and those to Mactaggart and the Kirkcudbright
Tales were given me by Mr W. Macmath in 1883.)
[116] That it was not originally intended to insert ‘The Outlaw
Murray’ in this collection will be apparent from the position which
it occupies. I am convinced that it did not begin its existence as a
popular ballad, and I am not convinced that (as Scott asserts) “it has
been for ages a popular song in Selkirkshire.” But the “song” gained a
place in oral tradition, as we see from =B=, =C=, and I prefer to err
by including rather than by excluding.
FRAGMENTS
“Dispersed thro Shakspere’s plays are innumerable little fragments of
ancient ballads, the entire copies of which could not be recovered,”
says Bishop Percy in his preface to ‘The Friar of Orders Gray.’ What
he says of Shakspere is equally true of Beaumont and Fletcher, but it
is not true, in either case, that there are many fragments of popular
traditional ballads. Portions of ballads of one kind or another, and
still more of songs, are introduced into the plays of these authors,
though not so frequently as one would suppose from Percy’s words. Ten
of the twenty-eight stanzas of ‘The Friar of Orders Gray’ are taken,
mostly in part only, from Shakspere and Fletcher,[117] but the original
verses are from songs, not properly from ballads. It is not, however,
always easy to say whether an isolated stanza belonged to a ballad or
a song. Some snatches from familiar ballads, which occur in Beaumont
and Fletcher, have already been given at the proper places. A few bits
from unknown pieces, which occur in Shakspere, or Beaumont and Fletcher
(strictly, perhaps, Fletcher), will be given here. It is surprising
that other dramatists have not furnished something.
A very meagre gathering of fragments from other sources follows those
which have been gleaned from the dramatists, but it must be once more
said that there is not an absolute certainty that all of these belong
to ballads.
Some popular tales are interspersed with verses of a ballad character,
and one or two cases have been incidentally noted already. Examples are
‘The Paddo,’ Chambers’s Popular Rhymes of Scotland, 1870, p. 87;[118]
‘The Red Etin,’ _ib._ p. 89; ‘The Black Bull of Norroway,’ _ib._ p. 95;
‘Child Rowland and Burd Ellen,’ Illustrations of Northern Antiquities,
p. 397;[119] ‘The Golden Ball,’ see No 95, =H=, II, 353-55.
SHAKSPERE
From King Lear, Act iii, sc. 4, printed 1608.
Child Rowland to the darke tower came.
His word was still, Fy, fo, and fumme!
I smell the bloud of a British man.
1. _So_ 1623: _both quartos_, darke towne come.
Act iii, sc. 6.
Sleepest or wakest thou, jolly shepheard?
Thy sheepe bee in the corne;
And for one blast of thy minikin mouth
Thy sheepe shall take no harme.
From The Taming of the Shrew, Act iv, sc. 1, printed 1623, I, 221.
It was the friar of orders gray,
As he forth walked on his way.
BEAUMONT AND FLETCHER
From The Knight of the Burning Pestle, produced apparently in 1611,
Act ii, sc. 8; Dyce, II, 173.
She cares not for her daddy,
Nor she cares not for her mammy,
For she is, she is, she is, she is
My lord of Lowgave’s lassy.
(_Perhaps only a song._)
Give him flowers enow, palmer, give him flowers enow,
Give him red and white, and blue, green, and yellow.
Act v, sc. iii; Dyce, p. 226.
With that came out his paramour,
She was as white as the lily-flower.
Hey, troul, troly, loly
With that came out her own dear knight,
He was as true as ever did fight.
From Bonduca, produced before March, 1619: Act v, sc. 2, Dyce, V, 88.
It was an old tale, ten thousand times told,
Of a young lady was turnd into mould,
Her life it was lovely, her death it was bold.
From The Two Noble Kinsmen, printed in 1634, Act iii, sc. 4; Dyce, XI,
383.
For I’ll cut my green coat a foot above my knee,
And I’ll clip my yellow locks an inch below mine ee.
Hey, nonny, nonny, nonny
He’s buy me a white cut, forth for to ride,
And I’ll go seek him through the world that is so wide.
Hey, nonny, nonny, nonny
* * * * *
The Complaynt of Scotland, 1549, gives two lines of a song on the
murder, in 1517, of the Sieur de la Bastie, a distinguished knight in
the service of the Regent, Duke of Albany. The song may, or may not,
have been a ballad.
God sen the Duc hed byddin in France,
And Delabautë hed neuyr cum hame.
ed. Leyden, p. 100.
* * * * *
The History of the Houses of Douglas and Angus, written by Master
David Hume of Godscroft, p. 155, Edinburgh, 1644.
Of the treacherous execution of William, sixth Earl of Douglas, at the
castle of Edinburgh, in 1440, Hume of Godscroft says: “It is sure the
people did abhorre it, execrating the very place where it was done; in
detestation of the fact of which the memory remaineth yet to our dayes
in these words.” Since Hume mentions no ballad, it is not likely that
he knew of more than this single stanza, or that more existed. (Sir
Walter Scott, however, confidently assumes that there was a ballad.
Minstrelsy, 1833, I, 221 f.)
Edinburgh castle, towne, and tower,
God grant thou sinke for sinne!
And that even for the black dinner
Earle Douglas got therein.
* * * * *
Written on the fly-leaf of a little volume printed at Edinburgh about
1670 (Quevedo’s Novels), Laing MSS, University of Edinburgh, Div. II,
358. (Communicated by Mr Macmath.)
‘He steps full statly on y^e stre[et],
He hads y^e charters of him sell,
In to his cloathing he is compl[ete],
In Craford’s mure he bears y^e bell.
‘I wish I had died my own fai[r] death,
In tender age, q^n I was young;
I would never have broke my heart
For y^e love of any churl’s son.
‘Wo be to my parents all,
Y^t lives so farr beyond y^e sea!
I might have lived a noble life,
And wedded in my own countrë.’
* * * * *
Finlay’s Scottish Ballads, I, xxxii.
A “romantic ballad, of which, unfortunately, one stanza only has been
preserved. The tradition bears that a young lady was carried away by
the fairies, and that, although invisible to her friends who were in
search of her, she was sometimes heard by them lamenting her destiny in
a pathetic song, of which the stanza just mentioned runs nearly thus:”
O Alva hills is bonny,
Dalycoutry hills is fair,
But to think on the braes of Menstrie
It maks my heart fu sair.
* * * * *
KING EDELBRODE
Sent by Motherwell to C. K. Sharpe, with a letter dated October 8,
1825. Also entered in Motherwell’s Note-Book, p. 53 (excepting the
second line of the first stanza).
King Edelbrode cam owre the sea,
Fa la lilly
All for to marry a gay ladye.
Fa la lilly.
(Then follows the description of a queen, jimp and sma, not remembered.)
Her lilly hands, sae white and sma,
Fa la lilly
Wi gouden rings were buskit braw.
Fa la lilly
“I cannot get any precise account of its subject, but it related
somehow to a most magnificent marriage. The old lady who sung it died
some years ago.” (Letter to Sharpe.)
“It may be the same ballad as the scrap I have, with something of a
similar chorus.” (Note-Book, where the “chorus” is Fa fa lilly.)
The reference seems to be to ‘The Whummil Bore,’ No 27, I, 255.
* * * * *
C. K. Sharpe’s Letters, ed. Allardyce, II, 106 (1813).
‘O come you from the earth?’ she said,
‘Or come you from the skye?’
‘Oh, I am from yonder churchyard,
Where my crumbling relicks lie.’
Sharpe somewhere asks, Where does this belong?
Possibly in some version of ‘Proud Lady Margaret,’ No 47, II, 425.
* * * * *
MS. of Thomas Wilkie, p. 79, “Scotch Ballads, Materials for Border
Minstrelsy,” No 73 a, Abbotsford.
The great bull of Bendy-law
Has broken his band and run awa,
And the king and a’ his court
Canna turn that bull about.
* * * * *
“Scotch Ballads, Materials for Border Minstrelsy,” No 86 a,
Abbotsford, in the handwriting of Thomas Wilkie.
Red-Cap he was there,
And he was there indeed,
And he was standing by,
With a red cap on his head.
* * * * *
“Scotch Ballads, Materials for Border Minstrelsy,” No 73 a; MS. of
Thomas Wilkie, Abbotsford, derived by Wilkie from his father, “who
heard a Lady Brigs sing this when he was a boy.”
He took a sword in every hand
And on the house did venture,
And swore if they wad not gee her up
He would make all their doors play clatter.
Her angry father, when he saw this,
That he would lose his ae daughter,
He swore if he had not been gude at the sword
He durst not come to make his doors clatter.
* * * * *
It was far in the night, and the bairnies grat;
The mither beneath the mools heard that.
sung in Wuthering Heights, ch. 9, has not unnaturally been taken for
a relic of a traditional Scottish ballad of a dead mother returning
to her abused children. It is, in fact, a stanza (not literally well
remembered) from the Danish ballad ‘Moderen under Mulde,’ Grundtvig,
II, 470, No 89, =B= 11, translated by Jamieson, and given in the notes
to the fourth canto of Scott’s Lady of the Lake.
* * * * *
The following “fragment,” given in Motherwell’s MS., p. 184, “from
Mr William Steele of Greenock, advocate,” I suppose to have been the
effort of a self-satisfied amateur, and to have been written as a
fragment. The third and fourth stanzas recall the broadside ballad ‘The
Lady Isabella’s Tragedy.’
Lady Margaret has bound her silken snood
A little aboon her bree,
Lady Margaret has kilted her grey mantel
A little aboon her knee.
Lady Margaret has left her bonnie bower,
But and her father’s ha,
And with Lord Hugh Montgomerie
Lady Margaret has gane awa.
* * * * * * *
‘I have made a bed, Lady Margaret,
Beneath the hawthorn-tree;
It’s lang and it’s deep, and there thou shalt sleep
Till I come back to thee.’
* * * * * * *
Then out and spake her father dear,
As he sat down to dine,
‘Gae, page, and tell Lady Margaret to come
And fill for me the wine.
‘Gae, page, and tell Lady Margaret to come
And glad her father’s ee;
The wine that is poured by her fair, fair hand
Is sweetest aye to me.’
Then out and spake the fat earth-worm,
That wons beneath the stane;
‘Yestreen I fed on a rosie cheek
And on a white hause-bane.
‘Yestreen I fed on a rosy cheek
And on a snaw-white bree;
But never again Lady Margaret
Shall fill the wine for thee.”@
FOOTNOTES:
[117] Stanza 1^{1,2} of Percy’s ballad is from The Taming of the Shrew,
iv, 1; 3, 5, 7, are, wholly or in part, from Hamlet, iv, 5; 12, 13,
from Fletcher’s Queen of Corinth, iii, 2; 15 from Hamlet, as before;
17, 18, from Much Ado about Nothing, ii, 3; one line of 22 from King
Lear, iii, 4.
[118] The verses from this tale are printed separately in Buchan’s
Ballads of the North of Scotland, I, 117, ‘The Maid and Fairy.’
[119] But Jamieson confesses: “Of the verses which have been introduced
I cannot answer for the exactness of any, except the stanza put into
the mouth of the king of Elfland, which was indelibly impressed upon my
memory [though J. was only seven or eight years old] long before I knew
anything of Shakspere.” The stanza is: [in came the king of Elfland,]
‘With fi, fi, fo and fum! I smell the blood of a Christian man; Be he
dead, be he living, wi my brand I’ll clash his harns frae his harn-pan.’
ADDITIONS AND CORRECTIONS
VOL. I.
1. Riddles Wisely Expounded.
P. 1 a, VI, 496 a. Guess or die. Kristensen, Jyske Folkeminder, X, 2,
‘Svend Bondes Spørgsmaal,’ =B.=
3-5. From Miss M. H. Mason’s Nursery Rhymes and Country Songs, p. 31;
sung in Northumberland.
E
1
There was a lady in the West,
Lay the bank with the bonny broom
She had three daughters of the best.
Fa lang the dillo
Fa lang the dillo dillo dee
2
There came a stranger to the gate,
And he three days and nights did wait.
3
The eldest daughter did ope the door,
The second set him on the floor.
4
The third daughter she brought a chair,
And placed it that he might sit there.
(_To first daughter._)
5
‘Now answer me these questions three,
Or you shall surely go with me.
(_To second daughter._)
6
‘Now answer me these questions six,
Or you shall surely be Old Nick’s.
(_To all three._)
7
‘Now answer me these questions nine,
Or you shall surely all be mine.
8
‘What is greener than the grass?
What is smoother than crystal glass?
9
‘What is louder than a horn?
What is sharper than a thorn?
10
‘What is brighter than the light?
What is darker than the night?
11
‘What is keener than an axe?
What is softer than melting wax?
12
‘What is rounder than a ring?’
‘To you we thus our answers bring.
13
‘Envy is greener than the grass,
Flattery smoother than crystal glass.
14
‘Rumour is louder than a horn,
Hunger is sharper than a thorn.
15
‘Truth is brighter than the light,
Falsehood is darker than the night.
16
‘Revenge is keener than an axe,
Love is softer than melting wax.
17
‘The world is rounder than a ring,
To you we thus our answers bring.
18
‘Thus you have our answers nine,
And we never shall be thine.’
Findlay’s MSS, I, 151, from J. Milne.
‘What’s greener than the grass?
What’s higher than the clouds?
What is worse than women’s tongues?
What’s deeper than the floods?’
‘Hollin’s greener than the grass,
Heaven’s higher than the clouds,
The devil’s worse than women’s tongues,
Hell’s deeper than the floods.’
2. The Elfin Knight.
P. 7 b, III, 496 a, IV, 439 a. ‘Store Fordringer,’ Kristensen, Jyske
Folkeminder, XI, 175, No 66 (three copies), 294, No 4. ‘Umulige
Fordringer,’ Kristensen, Efterslæt til Skattegraveren, p. 20, No 16.
14 a, II, 495. After the note to 14 a at II, 495, add: C. R. Lanman.
17. Communicated by Mr Walker, of Aberdeen, as sung, 1893, by John
Walker, Portlethen; learned by him from his father, above fifty years
before.
1
There was a knight on the head o yon hill
Blowing his horn lood and shrill.
Blow, blow, blow the wind, blow
2
‘Ye’se get to me a camrick sark
Without ae steek o needlewark.
3
‘An ye will wash it in a wall
Where rain never fell nor water sprang.
4
‘An ye sall dry it on a thorn
That never wis sprung sin Adam was born.’
5
‘Ye’se gie me an acre o red lan
Atween the see an the watery san.
6
‘An ye will plough it wi yer horn,
An sa it a’ wi ae pick o corn.
7
‘. . . . . . . .
An cut it doon wi a sheepshank bone.
8
‘An ye will big it in the sea,
An bring the foonshief dry to me.
9
‘An when ye have done and finished yer wark,
Come in, Jock Sheep, an ye’ll get yer sark.’
_As delivered, 5-8 precede 2-4._
17, 484 b. =M.= Findlay’s MSS, I, 21, from the recitation of Jeany
Meldrum, Framedrum, Forfarshire.
17, II, 495 b. In The Monthly Chronicle of North Country Lore and
Legend, III, 7, ‘Whittingham Fair’ is given by Mr Stokoe with a few
variations.
1. _Second line of refrain_,
For once she was a true lover of mine.
2, 4. _Second line of refrain_,
Then she shall be a true lover.
3. _Second line of refrain_,
And she shall be a true lover.
5. _Second line of refrain_,
Before he shall be a true lover.
6. _Second line of refrain_,
Then he shall be a true lover.
7, 8, 9. _Second line of refrain_,
And he shall be a true lover.
6^1. to buy.
8^1. to sheer’t.
_After_ 8: Tell him to thrash it on yonder wall,
And never let one corn of it fall.
Then he shall be a true lover of mine.
17, 484 f., II, 495 f., IV, 439 f.
‘Scarborough Fair,’ taken down by H. M. Bower, December, 1891, from
William Moat, a Whitby fisherman. English County Songs, by Lucy E.
Broadwood and J. A. Fuller Maitland, 1893, p. 12.
1
‘Is any of you going to Scarborough Fair?
Remember me to a lad as lives there;
Remember me to a lad as lives there;
For once he was a true lover of mine.
(_Second line always twice._)
2
‘Tell him to bring me an acre of land
Betwixt the wild ocean and yonder sea sand;
And then he shall be a true lover of mine.
3
‘Tell him to plough it with one ram’s horn,
And sow it all over with one pepper corn;
And then he shall be a true lover of mine.
4
‘Tell him to reap it with sickle of leather,
And bind it together with one peacock-feather;
And then he shall be a true lover of mine.
5
‘And now I have answered your questions three,
I hope you’ll answer as many for me;
And then thou shalt be a true lover of mine.’
6
‘Is any of you going to Scarborough Fair?
Remember me to a lass as lives there;
For once she was a true lover of mine.
7
‘Tell her to make me a cambric shirt,
Without any needles or thread, or owt through’t;
And then she shall be a true lover of mine.
8
‘Tell her to wash it by yonder wall,
Where water neer sprung, nor a drop o rain fall;
And then she shall be a true lover of mine.
9
‘Tell her to dry it on yonder thorn,
Where blossom neer grew sin Adam was born;
And then she shall be a true lover of mine.
10
‘And now I have answered your questions three,
And I hope you’ll answer as many for me;
And then thou shalt be a true lover of mine.’
Rev. S. Baring-Gould gives me these variations, from the West of
England:
‘O tell her to bleach it on yonder fresh grass,
Where never a foot or a hoof did pass.’
‘O tell him to thresh it in yonder barn,
That hangs to the sky by a thread of yarn.’
(Dartmoor.)
‘Pray take it up in a bottomless sack,
And every leaf grows merry in time
And bear it to the mill on a butterfly’s back.
O thus you shall be a true lover of mine’
(Cornwall.)
4. Lady Isabel and the Elf-Knight.
P. 26 b. =Danish.= ‘Kvindemorderen,’ two fragments; Kristensen,
Folkeminder, XI, 62, No 33.
29-37, 486 a, IV, 441 a. =FF.= ‘Schön Hannchen,’ Frischbier und
Sembrzycki, Hundert Ostpreussische Volkslieder, 1893, p. 35, No 22,
from Angerburg, 51 vv. The ballad is of the third class. Hannchen
walks in the wood, and Ulrich advances to meet her. The birds are
all singing, and the maid asks why. ‘Every bird has its song,’ says
Ulrich; ‘go you your gait.’ He takes her under a briar where there is a
pretty damsel (who is quite superfluous). Hannchen lays her head in the
damsel’s lap and begins to weep. The damsel asks whether her weeping is
for her father’s gear, or because Ulrich is not good enough for her.
It is not for her father’s gear, and Ulrich is good enough. ‘Is it,
then,’ says the damsel or Ulrich, ‘for the stakes on which the eleven
maidens are hanging? Rely upon it, you shall be the twelfth.’ She begs
for three cries, which are addressed to God, her parents, and her
brothers. The brothers hear, hasten to the wood, and encounter Ulrich,
who pretends to know nothing of their sister. His shoes are red with
blood. ‘Why not?’ says Ulrich, ‘I have shot a dove.’ They know who the
dove is. Hannchen is borne to the churchyard, Ulrich is strung up on
the gallows. No 23 of the same collection is =X.=
‘Die schöne Anna,’ Böckel, Deutsche Volkslieder aus Oberhessen, p.
86, No 103, ‘Als die wunderschöne Anna,’ Lewalter, Deutsche V. l. in
Niederhessen gesammelt, 1^5 Heft, No 24, p. 51, and also No 25, are
fragmentary pieces, varieties of =DD=, I, 486 a.
37 b, 3d paragraph. A variety of =A= is printed in Altpreussische
Monatschrift, N. F., XXVIII, 632, 1892, without indication of local
derivation, ‘Der Ritter und die Königstochter.’ The knight takes
measures (not very summary ones) to drown himself.
43 b (or 44 a), 488 a, III, 497 a, IV, 441 b. =Italian.= Add: Canti
popolari Emiliani by Maria Carmi, Archivio, XII, 178, No 2.
44 b, 1st paragraph. Add: ‘El Mariner’ and ‘Giovanina,’ Villanis,
Canzoni p. Zaratine, in Archivio XI, 33, 34, Nos 2, 3.
58. =E.= A copy of ‘The Outlandish Knight,’ with unimportant verbal
variations, is given in English County Songs, by Lucy E. Broadwood and
J. A. Fuller Maitland, p. 164.
III, 497 b. A pair on horseback go a long way without speaking. A trait
in Polish, French, and Italian versions of No 4. Add: Munthe, Folkpoesi
från Asturien, p. 118 f., VII, =A=, 76 f., =B=, 70 f. (‘Don Bueso,’
Duran, =I=, lxv, no hablara la niña.) Dead lover and maid in Bartoš,
Nové národne pisnĕ moravské, p. 150. Lagus, Nyländske F. visor, ‘Kung
Valdemo’ (==Ribold), No 1, a, 28, b, 18, ‘Kämpen Grimborg,’ No 3, a,
21, b, 19.
5. Gil Brenton.
P. 62. In Traditionary Stories of Old Families, by Andrew Picken, 1833,
I, 289, ‘The Three Maids of Loudon,’ occur the following stanzas:
Seven pretty sisters dwelt in a bower,
With a hey-down, and a ho-down
And they twined the silk, and they workd the flower.
Sing a hey-down and a ho-down
And they began for seven years’ wark,
With a hey-down and a ho-down
All for to make their dear loves a sark.
With a hey down and a ho-down
O three long years were passd and gone,
And they had not finishd a sleeve but one.
‘O we’ll to the woods, and we’ll pull a rose,’
And up they sprang all at this propose.
(W. Macmath.)
6. Willie’s Lady.
P. 82 a. ‘Barselkvinden,’ three fragments, Kristensen, Folkeminder, XI,
42, No 23.
85 b, 3d paragraph. Say, of the parish of Logierait.
7. Earl Brand.
P. 88, III, 498 b, IV, 443 a. ‘Hr. Ribolt.’ =Danish.= Add:
Skattegraveren, VI, 17, No 257, ‘Nævnet til døde,’ Kristensen,
Efterslæt til Skattegraveren, p. 81, No 76; Folkeminder, XI, 36, No 22,
A-D.
91 f. 489 b, III,498 b, IV, 443 a. =Swedish.= [‘Ridborg,’] Thomasson,
Visor från Bleking, Nyare Bidrag, etc., VII, No 6, p. 12, No 7.
96 b. =Danish.= ‘Hertug Frydenborg,’ Danmarks g. Folkeviser, No 305, V,
II, 216. =A a=, =b=, =h=, =n=, =o=; =B b=, =c=; =E= =k=, =l=; =F b=,
=c=, =e=, =f=; with diversities, the plant nearly always lilies. (A few
of these, from Kristensen, have been already cited.)
9. The Fair Flower of Northumberland.
P. 116. =D.= In a copy sent by Motherwell to C. K. Sharpe with a
letter, October 8, 1825, this version is said to have been obtained
from Mrs Nicol, of Paisley.
117, 493 a.
G
‘The Heiress of Northumberland,’ from C. K. Sharpe’s first collection,
p. 7.
Sir W. Scott, commenting on this copy (to which he by mistake gives the
title of The Stirrup of Northumberland), says: “An edition considerably
varied both from Ritson’s and the present I have heard sung by the Miss
Tytlers of Woodhouselee. The tune is a very pretty lilt.” Sharpe’s
Ballad Book, ed. 1880, p. 142.
At the end of the ballad we are told: Tradition’s story is that the
hero of this song was one of the Earls of Douglass, who was taken
captive and put in prison by Percy, Earl of Northumberland.
1
‘Why, fair maid, have pity on me,’
Waly ‘s my love wi the life that she wan
‘For I am bound in prison strong,
And under the heir o Northumberland.’
2
‘How can I have pity on thee,’
Waly’s my love, etc.
‘When thou hast a wife and children three,
All dwelling at home in fair Scotland?’
3
Now he has sworn a solemn oath,
And it was by eternity,
That wife and children he had none,
All dwelling at home in fair Scotland.
4
Now she’s gone to her father’s bedstock,
Waly’s my love, etc.
And has stolen the key of the dungeon-lock,
And she the great heir o Northumberland.
5
And she’s gone to her father’s chest,
She has stolen away a suit of the best,
Altho she was heir o Northumberland.
6
Now she’s gone to her father’s coffer,
And has taen out gold nane kens how meickle,
Altho she, etc.
7
She’s gane to her father’s stable,
And taen out a steed baith lusty and able,
For a’she was heir, etc.
8
The rade till they came to Crafurdmoor,
He bade her light down for an English whore,
Altho she, etc.
9
The rade till the came to the water o Clyde,
He bade her light down, nae farer she should ride,
‘For now I am at hame in fair Scotland.’
10
‘Yonder view my castle,’ said he;
‘There I hae a wife and children three,
All dwelling at home,’ etc.
11
‘O take me by the middle sae sma
And thro me oer your castle-wa,
For I darena gang hame to Northumberland.’
12
When she came to her father’s yett,
She durst hardly rapp thereat,
Altho she was, etc.
13
Out then spoke her stepmother sour,
She bad her pack off for an impudent whore,
‘For thou shalt not be heir o Northumberland.’
14
Out then spock her bastard brother;
‘She’ll hae nae mair grace than God has gien her,
And she shall be heir o Northumberland.’
15
Out and spoke her father sae mild,
‘She’s no the first maid a false Scot has beguild,
And she shall be,’ etc.
10. The Twa Sisters.
P. 125, 493 b, II, 498 b, III, 499 a, IV, 447 b. ‘Les roseaux qui
chantent, Revue des Traditions Populaires, VII, 223 (blue flower);
‘L’os qui chante,’ discussion of the tale by M. Charles Ploix, Rev. des
Trad. Pop., VIII, 129 ff.
11. The Cruel Brother.
P. 142 b, 496 a, III, 499 a, IV, 449 a. Add a ballad of Rissiäld, Canti
popolari Emiliani, Maria Carmi, Archivio, XII, 185, No 7.
144 a, l. 18. ‘Le Testament de Marion.’ Another version, ‘La belo
Marioun,’ Laroche, Folklore du Lauraguais, p. 247.
144 b, 2d paragraph. Add at the end: the (she) ass, Testament de l’Âne,
Buchon, Noels et Chants pop. de la Franche-Comté, p. 89, No 28; and
elsewhere.
147. =E.= For this stanza we find, whatever may be the explanation, the
following in Findlay MSS, I, 146. “From Miss Butchart, Arbroath.”
There were three sisters livd in a bouer,
With a hech hey an a lillie gay
There cam a knicht to be their wooer.
An the primrose springs sae sweetly
Sing Annet, an Marrot, an fair Maisrie,
An the dew hangs in the wood, gay ladie.
12. Lord Randal.
=P.= 152 b, 498 b, III, 499 b. =Italian.= Three imperfect versions
(Sardinian) in Ferraro, C. p. in dialetto logudorese, 1891, pp. 3-5.
156 a, last paragraph, northern ballad. Add: ‘Den onde svigermoder,’
Kristensen, Jyske Folkeviser, I, 332, No 122; Skattegraveren, V, 84, No
635.
157, 499, IV, 449.
‘Lairde Rowlande, or Ronalde,’ The Sporting Magazine, XXV, 209,
January, 1805; communicated by Philodice, as recited by a “peasant’s
girl” at Randcallas, Perthshire. (Reprinted by Mr Edward Peacock in The
Athenæum, August 27, 1892, p. 288.)
1
‘Ah, where have you been, Lairde Rowlande, my son?
Ah, where have you been, Lairde Rowlande, my son?’
‘I’ve been in the wild woods; mither, mak my bed soon,
For I’m weary wi hunting and faine would lie down.’
2
‘Oh, you’ve been at your true-love’s, Lairde Rowlande, my son,’ etc.
‘I’ve been at my true-love’s; mither,’ etc.
3
‘What got you to dinner?’ etc.
‘I got eels boild in brue; mither,’ etc.
4
‘What’s become of your warden?’ etc.
‘He died in the muirlands; mither,’ etc.
5
‘What’s become of your stag-hounds?’ etc.
‘They swelled and they died; mither,’ etc.
‘Jacky, my son,’ written out by Miss F. J. Adams, a Devonshire lady,
and derived by her from her Devonshire nurse, sixty or seventy years
ago. (Rev. S. Baring-Gould.)
1
‘Where hast thou been to-day, Jacky, my son?
Where hast thou been to-day, my honey man?’
‘Oh, I’ve been a courting, mother, make my bed soon,
For I am sick to the heart, fain would lie down.’
2
‘Where shall I make it to?’ etc.
‘Oh, in the churchyard, mother,’ etc.
3
‘What wilt thou leave thy mother?’ etc.
‘Oh, I’ll leave her my money, mother,’ etc.
4
‘What wilt thou leave thy father?’ etc.
‘Oh, I’ll leave him my ’state, mother,’ etc.
5
‘What wilt thou leave thy sweetheart?’ etc.
‘A rope for to hang her, mother,’ etc.
‘The Croodin Doo.’ Findlay MSS, I, 192.
1
‘Whare did ye get your dinner the day,
My wee, wee croodin doo?’
(_Twice._)
2
‘I got it in my step-mither’s ha,
Oh, granny, mak my bed noo.’
(_Twice._)
3
‘What did ye get to your dinner the day,
My wee, wee croodin doo?’
(_Twice._)
4
‘I got a wee fishie wi four wee feeties,
Oh, granny, mak my bed noo.’
(_Twice._)
5
‘Did ony body eat it but yoursel,
My wee, wee croodin doo?’
(_Twice._)
6
‘I gied the banes to my wee, wee dogie,
Oh, granny, mak my bed noo;
He streekit out his head an died at my feet,
O, granny, een as I do noo.’
Among C. K. Sharpe’s papers, and in his handwriting, is a piece in
dialogue between Mother and Son headed, Death of Lord Rounal, a Gaelic
ballad founded on a tradition of his receiving poison by treachery
at the castle of his mistress’ father, and dying on his return home.
This is the familiar Scottish ballad made over in English and mildly
sentimental phraseology. All the Celtic in it is “dark Dungael, the
chief of meikle guile,” the father.
13. Edward.
P. 167 b, 501 b, III 499 b. =Swedish.= ‘Sven i Rosengård’ in Thomasson,
Visor från Bleking, Nyare Bidrag, etc., VII, No 6, p. 16, No 9.
168 a, second paragraph, ‘when stones float,’ etc. Compare Sir John
Mandeville, as to the Dead Sea, ch. 9 (of the Cotton MS.): “And zif a
man caste iren therein, it wole flete aboven, and zif men caste a fedre
therein, it wol synke to the botme.”
14. Babylon, or, The Bonnie Banks o Fordie.
P. 170, II, 499 a, III, 500. Add to the French ballad, ‘C’est trois
garçons dépaysés,’ Pineau, Le Folk-Lore du Poitou, p. 281; ‘Les
Coumpagnons,’ Laroche, Folklore du Lauraguais, p. 245.
171 a. =Danish.= Add: Hr. Tures Døtre, Kristensen, Folkeminder, XI,
145, No 56.
15. Leesome Brand.
P. 178 b. =Danish.= Add: ‘Barnefødsel i Lunden,’ Kristensen,
Folkeminder, XI, 102, No 45, =A-I=, 9 copies.
181 b, II, 499 a. =French=, =B.= Add: ‘La-bas, sus ces grands champs,’
Pineau, Le Folk-Lore du Poitou, p. 315.
16. Sheath and Knife.
P. 185, III, 500. In C. K. Sharpe’s papers there is the following
version, in Motherwell’s handwriting, sent by him to Sharpe with a
letter dated Paisley, 8th October, 1825.
F
‘The Broom blooms bonnie,’ from the recitation of Agnes Lyle,
Kilbarchan.
1
‘There is a feast in your father’s house,
The broom blooms bonnie, and so is it fair
It becomes you and me to be very douce.’
And we’ll never gang up to the broom nae mair
2
‘Will you go to yon hill so hie,
Take your bow and your arrow wi thee.’
3
He’s tane his lady on his back,
And his auld son in his coat-lap.
4
‘When ye hear me give a cry,
Ye’ll shoot your bow and let me ly.
5
‘When ye see me lying still,
Throw awa your bow and come running me till.’
6
When he heard her gie a cry,
He shot his bow and he let her lye.
7
When he saw she was lying still,
He threw awa his bow and came running her till.
8
It was nae wonder his heart was sad,
When he shot his auld son at her head.
9
He howkit a grave lang, large and wide,
He buried his auld son down by her side.
10
It was nae wonder his heart was sair,
When he shooled the mools on her yellow hair.
11
‘Oh,’ said his father, ‘son, but thou’rt sad,
At our braw meeting you micht be glad.’
12
‘Oh,’ said he, ‘father, I’ve lost my knife,
I loved as dear almost as my own life.
13
‘But I have lost a far better thing,
I lost the sheathe that the knife was in.’
14
‘Hold thy tongue and mak nae din,
I’ll buy thee a sheath and a knife therein.’
15
‘A’ the ships ere sailed the sea
Neer’ll bring such a sheathe and knife to me.
16
‘A’ the smiths that lives on land
Will neer bring such a sheath and knife to my hand.’
III, 500. =E.= Colonel W. F. Prideaux has printed this piece, from a
manuscript of Motherwell’s in his possession, in Notes and Queries,
Eighth Series, I, 372, with the trifling variations (or confirmations
of doubtful readings) here annexed.
1^1 Ane.
3^1. we’ll hunt
6^1. let me doun by the rute o the.
7^2. And _wanting_: as ony.
9^2. faithless.
10^1. The ae.
17. Hind Horn.
P. 196 a (7). Historia: Hertzog Heinrich der löw, XVI, 221, of the
edition of the Litt. Verein in Stuttgart, ed. Goetze, 228 vv.
198 a. Tales. Add: Stier, Ungarische Volksmärchen, p. 53.
198 b, 502 b, II, 499 b, IV, 450 b. ‘Le retour du mari,’ Pineau, Le
Folk-Lore du Poitou, p. 385; La Tradition, VI, 207 f.
199 b. =Romaic.= Add: Manousos, II, 73; Ζωγραφεῖος Ἀγών, p. 76, No 26.
205. =G.= Kinloch has made numerous small changes. The ballad will now
be given as first written down, Kinloch MSS, VII, 117. It appears to
have been derived by Miss Kinnear from Christy Smith.
1
‘Hynde Horn’s bound, love, and Hynde Horn’s free;
Whare was ye born? or frae what cuntrie?’
2
‘In gude greenwud whare I was born,
And all my friends left me forlorn.
3
‘I gave my love a gay gowd wand,
That was to rule oure all Scotland.
4
‘My love gave me a silver ring,
That was to rule abune aw thing.
5
‘Whan that ring keeps new in hue,
Ye may ken that your love loves you.
6
‘Whan that ring turns pale and wan,
Ye may ken that your love loves anither man.’
7
He hoisted up his sails, and away sailed he
Till he cam to a foreign cuntree.
8
Whan he lookit to his ring, it was turnd pale and wan;
Says, I wish I war at hame again.
9
He hoisted up his sails, and hame sailed he
Until he cam till his ain cuntree.
10
The first ane that he met with,
It was with a puir auld beggar-man.
11
‘What news? what news, my puir auld man?
What news hae ye got to tell to me?’
12
‘Na news, na news,’ the puirman did say,
‘But this is our queen’s wedding-day.’
13
‘Ye’ll lend me your begging-weed,
And I’ll lend you my riding-steed.’
14
‘My begging-weed is na for thee,
Your riding-steed is na for me.’
15
He has changed wi the puir auld beggar-man.
16
‘What is the way that ye use to gae?
And what are the words that ye beg wi?’
17
‘Whan ye come to yon high hill,
Ye’ll draw your bent bow nigh until.
18
‘Whan ye come to yon town-end,
Ye’ll lat your bent bow low fall doun.
19
‘Ye’ll seek meat for St Peter, ask for St Paul,
And seek for the sake of your Hynde Horn all.
20
‘But tak ye frae nane o them aw
Till ye get frae the bonnie bride hersel O.’
21
Whan he cam to yon high hill,
He drew his bent bow nigh until.
22
And when he cam to yon toun-end,
He loot his bent bow low fall doun.
23
He sought for St Peter, he askd for St Paul,
And he sought for the sake of his Hynde Horn all.
24
But he took na frae are o them aw
Till he got frae the bonnie bride hersel O.
25
The bride cam tripping doun the stair,
Wi the scales o red gowd on her hair.
26
Wi a glass o red wine in her hand,
To gie to the puir beggar-man.
27
Out he drank his glass o wine,
Into it he dropt the ring.
28
‘Got ye’t by sea, or got ye’t by land,
Or got ye’t aff a drownd man’s hand?’
29
‘I got na’t by sea, I got na’t by land,
Nor gat I it aff a drownd man’s hand;
30
‘But I got it at my wooing,
And I’ll gie it to your wedding.
31
‘I’ll tak the scales o gowd frae my head,
I’ll follow you, and beg my bread.
32
‘I’ll tak the scales o gowd frae my hair,
I’ll follow you for evermair.’
33
She has tane the scales o gowd frae her head,
She’s followed him, to beg her bread.
34
She has tane the scales o gowd frae her hair,
And she has followd him evermair.
35
Atween the kitchen and the ha,
There he loot his cloutie cloak fa.
36
The red gowd shined oure them aw,
And the bride frae the bridegroom was stown awa.
19. King Orfeo.
P. 215. Professor Sophus Bugge maintains that the Scandinavian ballad
‘Harpens Kraft’ shows acquaintance with the English romance, and
indeed, like the English ballad, is derived from it. (Arkiv för nordisk
Filologi, VII, 97 ff., 1891.)
20. The Cruel Mother.
P. 218. Findlay’s MSS, I, 58 f., derived from his mother.
1
I lookëd ower the castle-wa,
Hey rose, ma lindie, O
Saw twa bonnie babies playin at the ba.
Doon in the green wood-sidie, O
2
‘O bonnie babies, an ye were mine,
I wad feid ye wi flour-breid an wine.’
3
‘O cruel mother, when we were thine,
You did not prove to us sae kin.’
4
‘O bonnie babies, an ye were mine,
I wad cleid ye wi scarlet sae fine.’
5
‘O cruel mother, when we were thine,
You did not prove to us sae fine.
6
‘For wi a penknife ye took our life
And threw us ower the castle-wa.’
7
‘O bonnie babies, what wad ye hae dune to me
For my bein sae cruel to thee?’
8
‘Seven yeare a fish in the flood,
Seven yeare a bird in the wood.
9
‘Seven yeare a tinglin bell,
Seventeen yeare in the deepest hell.’
Under the green wood-sidie, O
219 b, 504 a, II, 500 a, III, 502 b, IV, 451 a. Add =S=, Deutsche
Volksballaden aus Südungarn, Grünn und Baróti, in Ethnologische
Mitteilungen aus Ungarn, II, 201, No 4, 1892.
21. The Maid and the Palmer.
P. 228. M. G. Doncieux has attempted to arrange “Le cycle de Sainte
Marie-Madelaine,” in Revue des Traditions Populaires, VI, 257.
22. St Stephen and Herod.
P. 233 ff. ‘Stjærnevisen,’ Kristensen, XI, 207, No 76 =A=, =B=, has
nothing about Stephen, but is confined to the scripture-history, piety,
and New Year’s wishes.
P. 236 a, IV, 451 b. =French.= An imperfect French ballad in Mélusine,
VI, 24, from a wood-cut “at least three centuries old.”
Add a Piedmontese popular tale communicated by Count Nigra to the
editor of Mélusine, VI, 25 f.
M. Gaidoz, at the same place, 26 f., cites two versions of the
resuscitation of the cock, from example-books. The first, from
Erythræus (i.e. Rossi), ch. CLV, p. 187, is essentially the same as the
legend of St Gunther given from Acta Sanctorum (p. 239 a). The other,
from the Giardino d’ Essempi of Razzi, is the story told by Vincentius
(p. 237, note †).
25. Willie’s Lyke-Wake.
P. 250, II, 502 a, III, 503 a. =Italian.= Add: Canti pop. Emiliani,
Maria Carmi, Archivio, XII, 187, No 9. A fragment in Dalmedico, Canti
del popolo veneziano, p. 109, seems, as Maria Carmi suggests, to belong
to this ballad.
26. The Three Ravens.
P. 253. It has already been noted that traditional copies of ‘The Three
Ravens’ have been far from infrequent. When a ballad has been nearly
three hundred years in print, and in a very impressive form, the chance
that traditional copies, differing principally by what they lack,
should be coeval and independent amounts at most to a bare possibility.
Traditional copies have, however, sometimes been given in this
collection on the ground of a very slight chance; and not unreasonably,
I think, considering the scope of the undertaking.
The copy which follows was communicated by E. L. K. to Notes and
Queries, Eighth Series, II, 437, 1892, and has been sent me lately in
MS. by Mr R. Brimley Johnson, of Cambridge, England, with this note:
“From E. Peacock, Esq., F. S. A., of Dunstan House, Kirton-in-Lindsay,
Lincolnshire, whose father, born in 1793, heard it as a boy at
harvest-suppers and sheep-shearings, and took down a copy from the
recitation of Harry Richard, a laborer, who could not read, and had
learnt it ‘from his fore-elders.’ He lived at Northorpe, where a
grass-field joining a little stream, called Ea, Ee, and Hay, is pointed
out as the scene of the tragedy.”
1
There was three ravens in a tree,
As black as any jet could be.
A down a derry down
2
Says the middlemost raven to his mate,
Where shall we go to get ought to eat?
3
‘It’s down in yonder grass-green field
There lies a squire dead and killd.
4
‘His horse all standing by his side,
Thinking he’ll get up and ride.
5
‘His hounds all standing at his feet,
Licking his wounds that run so deep.’
6
Then comes a lady, full of woe,
As big wi bairn as she can go.
7
She lifted up his bloody head,
And kissd his lips that were so red.
8
She laid her down all by his side,
And for the love of him she died.
6^2. _Var._ child.
27. The Whummil Bore.
P. 255. Serving the king long without sight of his daughter. Prof.
Wollner notes that this trait is rather frequently found in Slavic. For
example, in Karadžič, II, 617, No 96, Yakšič Mitar serves the vojvode
Yanko nine years and never sees his sister.
29. The Boy and the Mantle.
P. 268 ff., II, 502 a, III, 503, IV, 454 a. Tests of chastity. On the
Herodotean story, I, 271, see =E.= Lefébure, Mélusine, IV, 37-39.--St
Wilfred’s Needle, in Ripon Minster. ‘In ipso templo, avorum memoria
Wilfridi acus celeberrima fuit. Id erat augustum in cryptoporticu
foramen quo mulierum pudicitia explorabatur; quæ enim castæ erant
facile transibant, quæ dubia fama nescio quo miraculo constrictæ
detinebantur.’ Camden, Britannia, ed. 1607, p. 570; see Folk-Lore
Journal, II, 286. (G. L. K.)
31. The Marriage of Sir Gawain.
P. 293. Mr Clouston, Originals and Analogues of some of Chaucer’s
Canterbury Tales, p. 520 cites a pretty story from a modern Turkish
author, in which, as so often happens, parts are reversed. A young king
of the fairies of a certain realm is cursed by his mother to appear old
and ugly until a fair mortal girl shall love him enough to miss his
company. This comes to pass after forty years, and the ugly old man
becomes a beautiful youth of seventeen. (Phantasms from the Presence of
God, written in 1796-97 by ‘Ali ‘Aziz Efendi, the Cretan.)
33. Kempy Kay.
P. 301. =A= was communicated to C. K. Sharpe by Robert Pitcairn with
the stanzas in the order printed by Sharpe. The arrangement in =A=
would seem, therefore, to have been an afterthought of Pitcairn’s.
There is some slight difference of reading, also, in Pitcairn’s MS.,
and one defect is supplied. The variations in the copy sent Sharpe are
(besides the order, as aforesaid) as follows:
2^1. I’m coming.
2^4. o weir.
3^4. three heire _wanting_.
4^4. Shone.
5^2. bruchty.
5^3. the night.
6^3. And in.
7^4. Between.
9^4. a lintseed bow (_with the variant_ a bruchtit ewe).
10^1. lauchty.
10^4. A’ _wanting_.
12^3. teeth into.
13^2. sheets (_no doubt erroneously_). _A stanza between 8 and 9 is
noted as deficient, and something after 13._
303. =C.= In a copy of =C= sent Sharpe by Motherwell in a letter of
December 6, 1824, the fourth stanza is lacking, the fifth is third.
3^2. span: years.
5^2. stool.
‘Knip Knap,’ taken down in the summer of 1893 by Mr Walker, of
Aberdeen, at Portlethen, from the singing of an old man, as learned
more than fifty years before from an old blacksmith at Dyce, near
Aberdeen.
1
Knip Knap a hunting went,
Out-ower the head o yon hill, aye, aye
Wi a lust o pig-staves out-oer his shouther,
An mony a dulchach forby, aye, aye.
2
There he met an old woman,
Was herdin at her kye;
‘I’m come yer ae dochter to woo,’
She’s a very good servant,’ said I.
3
The wife gaed hame to her ain hole-house,
Lookit in at her ain spunk-hole,
An there she saw her ain foul flag,
Loupin across the coal.
4
‘Win up, win up, my ae foul flag,
An mak yer foul face clean,
For yer wooer is comin here the nicht,
But yer foul face canna be seen. na, na’
5
She’s taen the sheave-wisps out o her sheen,
An in behint the door,
An she has faen to the stale strang,
Seven year auld an more.
6
An aye she scrubbit, an aye she weesh,
Out-ower the pint o her chin,
Till a knip-knap cam to the door,
She kent it was her wooer.
7
He’s taen her in his airms twa,
Kissd her cheek an chin:
‘An I hae gotten kisses twa,
Whaur I never thocht to get ane.’
8
The verra hair was in her head
Was like the heather-cowe,
An ilka louse at the reet o that
Was like a brockit ewe.
9
The verra ee was in her head
Was like a muckle pan,
The hunkers and clunkers that hang frae her sheen
Wad hae covered an acre o lan.
10
The verra teeth was in her head
Was like a tether’s check,
An the sneeters and snotters that hang frae her nose
Wad a gart a frozen mill gang.
11
The verra tongue was in her head
Wad been a guid mill-clap,
. . . . . . . .
. . . . . . . .
12
. . . . . . . .
. . . . . . . .
An ye may know very weel by that
She was a comely woman.
34. Kemp Owyne.
P. 309. From a manuscript collection of Charles Kirkpatrick Sharpe’s,
p. 2; “Second Collection,” see Sharpe’s Ballad Book, ed. 1880, p. 144.
This copy closely resembles =A=.
1
Her mother died when she was young,
And was laid in the silent tomb;
The father weded the weel worst woman
This day that lives in Christiendom.
2
She served her with hands and feet,
In every way that well could be,
Yet she did once upon a day
Throw her in over a craig of sea.
3
Says, Ly you there, you dove Isabeal,
And let you never borrowed be
Till Kempenwine come ower the sea
And borrow you with kisses three;
Whatever any may do or say,
O borrowed may you never be!
4
Her breath grew strong, and her hair grew long,
And twisted thrice about a tree,
And so hideous-like she did apear
That all who saw her from her did flee.
5
Now Kempenwine gat word of this
Where he was living beyond the sea;
He hied him straight unto that shoar,
The monstrous creature for to se.
6
Her breath was strong, and her hair was long,
And twisted was around the tree,
And with a swing she cried aloud,
Come to craig of sea and kiss with me.
7
‘Here is a royal ring,’ she cried,
‘That I have found in the green sea,
And while your finger it is on
Drawn shall your blood never be;
But if you touch me, tail or fin,
I vow this brand your death shall be.’
8
He steppëd in, gave her a kiss,
The royal ring he brought him wi;
Her breath was strong, and [her] hair was long,
Yet twisted twice about the tree,
And with a swing she came about,
‘Come to craig of sea and kiss with me.
9
‘Here is a royal belt,’ she cried,
‘That I have found in the green sea,
And while your body it is on
Drawn shall your blood never be;
But if you touch me, tail or fin,
I vow this brand your death shall be.’
10
He steppëd in, gave her a kiss,
The royal belt he brought him wee;
Her breath yet strong, her hair yet long,
Yet twisted once about the tree,
And with a swing she came about,
‘Come to craig of sea and kiss with me.
11
‘Here is a royal brand,’ she cried,
‘That I have found in the green sea,
And while your body it is on
Drawn shall your blood never be;
But if you touch me, tail or fin,
I vow my brand your death shall be.’
12
He steppëd in, gave her a kiss,
The royal brand he brought him wee;
Her breath now soft, her hair now short,
And disengagëd from the tree,
She fell into his arms two,
As fair a woman as ever could be.
_Written in long lines, and not divided into stanzas._
8^2. him with.
6^4, 8^6, 10^6. Craig of sea.
35. Allison Gross.
P. 314. Gifts offered by a hill-maid. ‘Bjærgjomfruens Frieri,’
Kristensen, Skattegraveren, II, 100, No 460; XII, 22 ff., Nos 16, 17;
Folkeminder, XI, 20 ff., No 18, A-E.
36. The Laily Worm and the Mackrel of the Sea.
P. 315. Though Skene has rendered this ballad with reasonable fidelity,
for an editor, it shall, on account of its interest, be given as
it stands in the old lady’s MS., where it is No 2. It proves not
absolutely true, as I have said, that the Skene ballad has “never been
retouched by a pen.”
1
‘I was bat seven year alld
Fan my mider she did dee,
My father marrëd the ae warst woman
The wardle did ever see.
2
‘For she has made me the lailly worm
That lays att the fitt of the tree,
An o my sister Meassry
The machrel of the sea.
3
‘An every Saterday att noon
The machrl comes ea to me,
An she takes my laylë head,
An lays it on her knee,
An keames it we a silver kemm,
An washes it in the sea.
4
‘Seven knights ha I slain
Sane I lay att the fitt of the tree;
An ye war na my ain father,
The eight an ye sud be.’
5
‘Sing on your song, ye l[a]ily worm,
That ye sung to me;’
‘I never sung that song
But fatt I wad sing to ye.
6
‘I was but seven year aull
Fan my mider she [did] dee,
My father marrëd the a warst woman
The wardle did ever see.
7
‘She changed me to the layel[y] worm
That layes att the fitt of the tree,
An my sister Messry
[To] the makrell of the sea.
8
‘And every Saterday att noon
The machrell comes to me,
An she takes my layly head,
An layes it on her knee,
An kames it weth a siller kame,
An washes it in the sea.
9
‘Seven knights ha I slain
San I lay att the fitt of the tree;
An ye war na my ain father,
The eight ye sud be.’
10
He sent for his lady
As fast as sen cod he:
‘Far is my son,
That ye sent fra me,
And my daughter,
Lady Messry?’
11
‘Yer son is att our king’s court,
Sarving for meatt an fee,
And yer doughter is att our quin’s court,
A mary suit an free.’
12
‘Ye lee, ye ill woman,
Sa loud as I hear ye lea,
For my son is the layelly worm
That lays at the fitt of the tree,
An my daughter Messry
The machrell of the sea.’
13
She has tain a silver wan
An gine him stroks three,
An he started up the bravest knight
Your eyes did ever see.
14
She has tane a small horn
An loud an shill blue she,
An a’ the came her tell but the proud machrell,
An she stood by the sea:
‘Ye shaped me ance an unshemly shape,
An ye’s never mare shape me.’
15
He has sent to the wood
For hathorn an fun,
An he has tane that gay lady,
An ther he did her burne.
_Written without division into stanzas or verses._
3^2. comes ea (aye); _but, on repetition in_ 8^2, comes _simply,
with better metre_.
15^1. hes has.
15^3. that that.
316. ‘Nattergalen,’ in Kristensen, Folkeminder, XI, 25, No 20, A-C.
In a Kaffir tale a girl marries a crocodile. The crocodile bids her
lick his face. Upon her doing so, the crocodile casts his skin and
turns into a strong and handsome man. He had been transformed by the
enemies of his father’s house. (Theal, Kaffir Folk-Lore, 1882, p. 37,
cited by Mr Clouston.)
39. Tam Lin.
P. 339. Teind to hell. See Isabel Gowdie’s case, in the Scottish
Journal, I, 256, and compare Pitcairn’s Criminal Trials.
345. =D a.= This copy occurs in “the second collection” of Charles
Kirkpatrick Sharpe, p. 3, with a few variations, as follows. (See
Sharpe’s Ballad Book, ed. 1880, p. 145.)
1^3. Charters wood, _and always_.
3^1. the seam.
3^3. is gone.
5^2. ye.
6^4. ask no.
10^4. we have.
11^1. to me.
12^2. aft.
12^3. the Lord of Forbes.
12^4. all his.
15 _occurs after_ 24.
15^1. Tho Elfin.
15^4. the tenth one goes.
15^5. I am an, _or_, I a man.
16^5. if that.
16^6. miles Cross.
17^1. go unto the Miles cross.
20^4. next the.
23^1, 24^1. int.
25^1. She did her down.
27^2. so green.
27^3. Where.
27^4. ride next.
28^4. he is.
29^4. He.
32^2. and cry.
34^1. I thought.
40. The Queen of Elfan’s Nourice.
P. 358, II, 505 b, III, 505 b, IV, 459 a. Mortal midwife for fairies.
‘La Sage-femme et la Fée,’ R. Basset, Contes pop. berbères, 1887, No
26, p. 55 (and see notes, pp. 162, 163). (G. L. K.)
41. Hind Etin.
P. 361 b, III, 506 a, IV, 459 a. =Danish.= ‘Jomfruen i Bjærget,’
fragment, in Kristensen, Folkeminder, XI, 6, No 12.
364 a, III, 506 a, IV, 459 a. =Danish.= ‘Agnete og Havmanden,’
Kristensen, Skattegraveren, III, p. 17, No 34, XII, 65 ff., Nos 136,
137; Efterslæt, p. 2, No 2, p. 174, No 126; Folkeminder, XI, 7, No 13,
A-D.
42. Clerk Colvill.
P. 371, No 42, p. 389. =C= in Findlay MSS, I, 141: ‘Clerk Colin,’ from
Miss Butchart, Arbroath, 1868. Miss Butchart, who died about 1890, aged
above ninety years, was the daughter of the Mrs Butchart from whom
Kinloch got certain ballads, and niece to the Mrs Arrot who was one of
Jamieson’s contributors. In the MS. there are these readings:
2^3. To gang.
4^3. maun gae.
5^2. could gang.
6^1. To Clyde’s.
374 b, IV, 459 a. =Danish.= ‘Elveskud,’ Kristensen, Skattegraveren,
XII, 54, No 125; ‘Elvedansen,’ Folkeminder, XI, 15, No 17, =A-C=.
380, II, 506 a, III, 506 a, IV, 459 a. =TT=, ‘La chanson de Renaud,’
Pineau, Le Folk-Lore du Poitou, p. 399; =UU=, ‘La Mort de Jean Raynaud,
Wallonia, I, 22.
=VV, WW=. Versions de la Bresse, one, and a fragment, J. Tiersot, Revue
des Traditions Populaires, VII, 654 ff.
382, II, 506 a, III, 506 a. =Italian.= =N.= ‘El conte Anzolin,’
Villanis, Canzoni pop. Zaratine, Archivio, XI, 32. A burlesque form in
Canti pop. Emiliani, Maria Carmi, Archivio, XII, 186, and a Venetian
rispetto of the same character (noted by Maria Carmi) in Bernoni, Canti
pop. Veneziani, 1873, Puntata 7, p. 12, No 62.
44. The Twa Magicians.
P. 400 a, III, 506 b, IV, 459 b. =French.= =Y.= ‘Les Transformations,’
Wallonia, I, 50.
401 b, 3d paragraph. Say: Cosquin, Contes lorrains, I, 103, No 9, and
notes.
402 a, last paragraph, Gwion. See the mabinogi of Taliesin in Lady
Charlotte Guest’s Mabinogion, Part VII, p. 358 f.
45. King John and the Bishop.
P. 405 b, II, 506, IV, 459 b. Another Magyar version in Zs. f.
vergleichende Literaturgeschichte, N. F. V, 467.
46. Captain Wedderburn’s Courtship.
P. 414. Rev. J. Baring-Gould informs me that there is an Irish version
of this piece in Ulster Ballads, British Museum, 1162. k. 6, entitled
‘The Lover’s Riddle.’ The lady, who in =B=, =C= is walking through the
wood ‘her lane,’ is in the Ulster copy walking ‘down a narrow lane,’
and she meets ‘with William Dicken, a keeper of the game.’ The only
important difference as to the riddles and the answers is that the
young lady remembers her Bible to good purpose, and gives Melchisedec
as an example of a priest unborn (Hebrews vii, 3).
415, note †. Miss M. H. Mason gives two copies in her Nursery Rhymes
and Country Songs, pp. 23, 24, ‘A Paradox.’
417, note †, II, 507 b, III, 507 a, IV, 459 b. “They were told that
in front of the king’s house there were twenty-score poles, with a
head on each pole with the exception of three.” ‘The Lad with the
Skin Coverings,’ J. G. Campbell, The Fians, p. 261. (There are three
adventurers in this case.) (G. L. K.)
421. =B. h.= ‘Captian Wederburn,’ “The Old Lady’s Collection,” No 38.
=B.= =a.=
1
The lard of Roslie’s doughter was walking on the green,
An by came Captain Wederburn, a servant to our king,
An he said to his livery-man, Wer it no agenst our laa,
I wad take her to my ain bed an lay her neast the waa.
=a.=
2
‘I am in my father’s garden, walken among my father’s trees,
An ye dou latt me walk a whill nou, kind sir, if ye pleas;
For the supper-beals they will be rung an I will be mised awa,
=a.=
4^3.
An my father will ate nae supper gine I be mised awa.’
=a.=
6.
He lighted off his hors an sett the lady one,
. . . . . . . . .
=A.= =a.=
6^{1,3}.
He sett her ahind his livery-man, was leath to latt her faa:
=A.= =a.=
5^4.
‘We’s baith lay in ae bed, an ye’s lay neast the wa.’
=B.= =a.=
7
Fan they came to his quarter-house, his landl[ad]y came ben:
‘Ther is mony bonny lady in Edenbrugh toun,
Bat sick a bonny lady is no in it aa;’
Says, ‘Lass, mak up a doun-bed, we will lay her nist the waa.’
=a.=
8
‘Hold yer toung, young man,’ she says, ‘an latt yer folly be;
I winnë come to my bed till ye gett to me things three.
. . . . . . . . .
. . . . . . . . .
=a.=
9
‘Ye gett to my supper a cherrey without a ston,
An ye gett to my suppeer a chiken without a bone,
An ye gett to my super a burd that flayes without a gaa,
Or I winnë lay in your bed, nether att stok nor waa.’
=a.=
10
‘The cherry when it is in the bloum, it is without a ston;
The chiken when it is in the egg is without a bon;
The dove she is a harmless burd, she flays without a gaa;
An we’s baith lay in ae bed, an ye’s lay nist the waa.’
=a.=
15
‘Hold off yer hands, young man,’ she says, ‘an dou not me perplex;
I winnë gae to my bed till ye tell me qustens six;
. . . . . . . . .
. . . . . . . . .
=a.=
16
‘What is greaner nor the grass? what is hig[h]er the[n] the tree?
What is war nor woman’s wish? what is deaper nor the sea?
What burd sings first? what life buds first, an what dos on it faa?
I winnë lay in your bed, nether att stok nor waa.’
=a.=
17
‘Death is greaner nor the grass; heaven is higher nor the tree;
The devill is war nor woman’s wish; hell is deaper nor the sea;
The coke crous first; the suderen wood springs first,
the due dos on it faa;
An we’s baith lay in ae bed, an ye’s lay neast the waa.’
=a.=
11
‘Hold off yer hands, young man,’ she says, ‘an yer folly gie our,
I winne come to your bed till ye gett to me things four;
. . . . . . . . .
. . . . . . . . .
=a.=
12
‘Ye gett to me a cherry that in December grou;
Leguays a fine silk mantell that waft gad never throu;
A sparrou’s horn, a prist unborn, this night to join us tua;
Or I winnë lay in your bed, nether att stok nor waa.’
=a.=
13
‘Ther is a hote-bed in my father’s garden wher winter chirrys grou,
Lequays a fine silk mantell in his closet which waft never gaid throu;
. . . . . . . . .
. . . . . . . . .
=a.=
14
‘Ther is a prist nou att the dore, just ready to come in,
An never one could say he was born,
For ther was a holl cut out of his mother’s side,
an out of it he did faa;
An we’s baith lay in ae bed, an ye’s lay nist the waa.’
=a.=
18
Littel kent the lassie in the morning fan she raise
That wad be the last of a’ her maiden days;
For nou she is marrëd to Captian Wederburn, that afore she never saa,
An they baith lay in ae bed, an she lays nest the waa.
7^4. Lays, Lass.
10^1. bloun.
12^1. grous.
49. The Twa Brothers.
P. 436 a, 3d paragraph. It ought to have been remarked that it was a
William Somerville that killed John. The names being the same as in the
ballad, “unusually gratuitous” is not warranted.
438. =A= was derived by Sharpe from Elizabeth Kerry. The original copy
was not all written at one time, but may have been written by one
person. The first and the last stanza, and some corrections, are in the
same hand as a letter which accompanied the ballad. The paper has a
watermark of 1817. A few trifling differences in the MS. may be noted:
1^1. twa.
1^2. school (_Note._ “I have heard it called the Chase”): the githar.
1^4. a far.
2^1. wrestled.
4^4. And.
5^1. brother.
6^3. both.
7^2, 8^2, 9^2. Should _for_ Gin.
8^1. what shall.
10^1. But _wanting_.
10^3. in fair Kirkland. (_Letter._ “I remembered a fair Kirk
something, and Kirkland it must have been.”)
10^4. again _wanting_.
H
‘Perthshire Tredgey.’ From a copy formerly in the possession of Charles
Kirkpatrick Sharpe. This fragment has some resemblances to =F.= “Copied
1823” is endorsed on the sheet (in the hand which made an insertion in
st. 11) and crossed out.
1
Two pretty boys lived in the North,
The went to the school so rare;
The one unto the other said,
We’ll try some battle of war.
2
The worselaid up, the worselaid down,
Till John lay on the ground;
A pen-knife out of William’s pocket
Gave John a deadly wound.
3
‘O is it for my gold?’ he said,
‘Or for my rich monie?
Or is it for my land sa broad,
That you have killed me?’
4
‘It’s neither for your gold,’ he said,
‘Or for your rich monie,
But it is for your land sa broad
That I have killed thee.’
5
‘You’ll take [me] up upon your back,
Carry me to Wastlen kirk-yard;
You’ill houk a hole large and deep,
And lay my body there.
6
‘You’ll put a good stone ou my head,
Another at my feet,
A good green turf upon my breast,
That the sounder I m[a]y sleep.
7
‘And if my father chance to ask
What’s come of your brother John,
. . . . . . .
. . . . . . .
* * * * * * *
8
‘What blood is this upon your coat?
I pray come tell to me;’
‘It is the blood of my grey hound,
It would not run for me.’
9
‘The blood of your greyhound was near so red,
I pray come tell to me;’
‘It is the blood of my black horse,
It would not hunt for me.’
10
‘The blood of your black horse was near so red,
I pray come tell to me;’
‘It is the blood of my brother John,
Since better canna be.’
* * * * * * *
11
He put his foot upon a ship,
Saying, I am gane our the sea;
‘O when will you come back again,
I pray come tell to me.’
12
‘When the sun and the moon passes over the broom,
That[’s] the day you’ll never see.’
* * * * *
2^1. worse laid, _misheard for_ warseled.
3^3. lands abroad _for_ land sae broad (_misheard_).
4^1. _After_ your, la _and half of an_ n, lan _caught from_ 3^3.
4^3. land abroad. _The reciter, or more probably the transcriber,
has become confirmed in the error made in 3^3._
11^3. come _inserted in a different hand_.
11^{3,4} _should probably be the first half of stanza 12._
50. The Bonny Hind.
P. 444 a. Motherwell MS., p. 485, professes to copy the ballad from
Herd’s MS. by way of supplying the stanzas wanting in Scott. There are,
however, in Motherwell’s transcript considerable deviations from Herd,
a fact which I am unable to understand.
53. Young Beichan.
P. 454. ‘Lord Beichim,’ Findlay’s MSS, I, 1, from Jeanie Meldrum,
Framedrum, Forfarshire, has these verses, found in =G= and in Spanish
and Italian ballads.
(“She meets a shepherd and addresses him.”)
‘Whas are a’thae flocks o sheep?
And whas are a’thae droves o kye?
And whas are a’thae statelie mansions,
That are in the way that I passd bye?’
‘O these are a’Lord Beichim’s sheep,
And these are a’Lord Beichim’s kye,
And these are a’Lord Beichim’s castles,
That are in the way that ye passd bye.’
There are three or four stanzas more, but they resemble the English
vulgar broadsides. There must have been a printed copy in circulation
in Scotland which has not been recovered.
468. =D= is now given as it stands in “The Old Lady’s Collection,” from
which it was copied by Skene: ‘Young Beachen,’ No. 14.
1
Young Beachen as born in fair London,
An foiren lands he langed to see,
An he was tean by the savage Mour,
An they used him mast cruely.
2
Throu his shoulder they patt a bore,
An throu the bore they patt a tree,
An they made him tralle ther ousen-carts,
An they used him most cruelly.
3
The savige More had ae doughter,
I wat her name was Susan Pay,
An she is to the prison-house
To hear the prisenor’s mone.
4
He made na his mone to a stok,
He made it no to a ston,
But it was to the Quin of Heaven,
That he made his mone.
5
‘Gine a lady wad borrou me,
Att her foot I wad rune,
An a widdou wad borrou me,
I wad becom her sone.
6
‘Bat an a maid wad borrou me,
I wad wed her we a ring,
I wad make her lady of haas an bours,
An of the high tours of Line.’
7
‘Sing our yer sang, Young Bichen,’ she says,
‘Sing our yer sang to me;’
‘I never sang that sang, lady,
Bat fat I wad sing to ye.
8
‘An a lady wad borrou me,
Att her foot I wad rune,
An a widdou wad borrou me,
I wad becom her son.
9
‘Bat an a maid wad borrou me,
I wad wed her we a ring,
I wad mak her lady of haas an bours,
An of the high tours of Line.’
10
Saftly gaid she but,
An saftly gaid she ben;
It was na for want of hose nor shone,
Nor time to pit them on.
11
. . . . . . . .
. . . . . . . .
An she has stoun the kees of the prison,
An latten Young Beachen gang.
12
She gae him a lofe of her whit bread,
An a bottel of her wine,
She bad him mind on the leady’s love
That fread him out of pine.
13
She gae him a stead was gued in time of nead,
A sadle of the bone,
Five hundred poun in his poket,
Bad him gae speading home.
14
An a lish of gued gray honds,
. . . . . . .
. . . . . . .
. . . . . . .
15
Fan seven lang year wer come an gane,
Shusie Pay thought lang,
An she is on to fair London,
As fast as she could gang.
16
Fan she came to Young Beachen’s gate,
. . . . . . . .
‘Is Young Beachen att home,
Or is he in this country?’
17
‘He is att home,
[H]is bearly bride him we;’
Sighan says her Susë Pay,
‘Was he quit forgoten me?’
18
On every finger she had a ring,
An on the middel finger three;
She gave the porter on of them,
‘Gett a word of your lord to me.’
19
He gaed up the stare,
Fell lau doun on his knee:
‘Win up, my proud porter,
What is your will we [me]?’
20
‘I ha ben porter att your gate
This therty year an three;
The fairest lady is att yer gate
Mine eays did ever see.’
21
Out spak the brid’s mother,
An a haghty woman was she;
‘If ye had not excepted the bonny brid,
Ye might well ha excepted me.’
22
‘No desparegment to you, madam,
Nor non to her grace;
The sol of yon lady’s foot
Is fairer then yer face.’
23
He’s geen the table we his foot,
An caped it we his knee:
‘I wad my head an a’my land
It’s Susie Pay come over the sea.’
24
The stare was therty steps,
I wat he made them three;
He toke her in his arms tua,
‘Susie Pay, y’er welcom to me!’
25
‘Gie me a shive of your whit bread,
An a bottel of your wine;
Dinner ye mind on the lady’s love
That freed ye out of pine?’
26
He took her
Doun to yon garden green,
An changed her name fra Shusie Pay,
An called her bonny Lady Jean.
27
‘Yer daughter came hear on high hors-back,
She sall gae hame in coaches three,
An I sall dubel her tocher our,
She is nean the war of me.’
28
‘It’s na the fashon of our country,
Nor yet of our name,
To wed a may in the morning
An send her hame att none.’
29
‘It’s na the fashon of my country,
Nor of my name,
Bat I man mind on the lady’s love
That freed me out of pine.’
* * * * *
5^2. I att her foot I: _cf._ 8^2.
9^3. tours: _cf._ 6^3.
13^4. spending.
17^3. Sigh an.
18^2. niddel.
_After_ 29:
Courtes kind an generse mind,
An winne ye ansur me?
An fan they hard ther lady’s word,
Well ansuared was she.
P. 476, II, 508. =L.= For the modern vulgar ballad, Catnach’s is a
better copy than that of Pitts. See Kidson, Traditional Tunes, p. 34,
for Catnach.
VOL. II.
54. The Cherry-Tree Carol.
P. 1 b. (Apple tree.) Chanson de la Corrèze, Mélusine, VI, 40.
55. The Carnal and the Crane.
P. 7. The Sower: La Tradition, VII, 312.
56. Dives and Lazarus.
P. 10 b, IV, 462 b. ‘Lazare et le mauvais riche,’ L’Abbé Durdy,
Anthologie pop. de l’Albret, Poésies gasconnes, p. 6.
Esthonian, Hurt, Vana Kannel, II, 210, No 296.
57. Brown Robyn’s Confession.
P. 13 b, IV, 463 a. =Danish.= ‘Sejladsen,’ Kristensen, Efterslæt til
Skattegraveren, p. 22, No 18, p. 161 ff., Nos 116, 117; Folkeminder,
XI, 148, No 57.
15 b. For Sadko, see Vesselofsky in Archiv für slavische Philologie,
IX, 282.
58. Sir Patrick Spens.
P. 17. Among Charles Kirkpatrick Sharpe’s papers there is a copy of
this ballad, which, from its being entirely in Sharpe’s hand excepting
the first line, we may suppose to have been intended as a reply to some
person who had inquired for a ballad so beginning. This copy is mainly
compounded, with a word altered here and there, from =D= (which Sharpe
gave Motherwell), ten stanzas of =H=, and two resembling =L= 2, 3. The
Sir Andrew Wood of =D= is changed to Sir Patrick Spens, and there is
this one stanza which I have not observed to occur elsewhere, following
=D= 7, or =H= 21:
O laith, laith war our gude Scots lords
To weet their silken sarks,
But lang or a’ the play was playd
The weet gade to their hearts.
62. Fair Annie.
P. 65 a. =Danish.= ‘Skjön Anna,’ Kristensen, Folkeminder, XI, 91, No 92.
63. Child Waters.
P. 83. ‘Fair Ellen,’ from “The Old Lady’s Collection,” No 30, a version
resembling =J.= The first two stanzas belong to ‘Glasgerion;’ compare
No 67, =C=, 1, 2, II, 140.
K
1
Willie was a harper guid,
He was a harper fine;
He harped the burds out of the tree,
The fish out of the flood,
The milk out of a woman’s brist
That bab had never nean.
2
He harped out, an he harped in,
Till he harped them a’ aslep,
Unless it was her Fair Elen,
An she stood on her feett.
3
Willie stod in stabile dor,
He said he wad ride,
. . . . . .
. . . . . .
4
‘Na women mane gae we me, Hellen,
Na women mane gaie we me
Bat them that will saddle my hors,
An bridell my steed,
An elky toun that I come to
A lish of hons mane lead.’
5
‘I will saddle yer hors, Willie,
An I will bridel yer steed,
An elky toun att we come tell
A leash of honds will lead.’
6
‘The dogs sall eat the gued fite bread,
An ye the douë pran,
An ye sall bliss, an na curse,
That ever ye lied a man.’
7
‘The dogs sall eat the whit bread,
An me the douë pran,
An I will bliss, an na curs,
That ear I loved a man.’
8
She has saddled his hors,
An she has bridled his stead,
An ealky toun att they came throu
A lish of honds did lead.
9
The dogs did eatt the whit bread,
An her the douey pran,
An she did bliss, an she did na curs,
That ever she loyed a man.
10
Fan they came to yon wan water
That a’ man caas Clayd,
He louked over his left shoder,
Says, Ellen, will ye ride?
11
‘I learned it in my medder’s bour,
I wiss I had learned it better,
Fan I came to wane water
To sume as dos the otter.
12
‘I learned in my midder’s bour,
I watt I learned it well,
Fan I came to wan water,
To sume as dos the ell.’
13
. . . . . . . .
. . . . . . . .
Or the knight was in the middell of the water,
The lady was in the eather side.
14
She leaned her back to a stane,
Gaa a call opon:
‘O my back is right sore,
An I sae farr frae hame!
15
‘Hou monny mill ha ye to rid,
An hou mony I to rine?’
‘Fifty mill ha I to rid,
Fifty you to rine,
An by that time I dou supos
Ye will be a dead woman.’
16
Out spak a bonny burd,
Sate on yon tree,
‘Gaa on, fair Ellen,
Ye ha scarcly milles three.’
17
Four-an-tuenty bony ladys
Mett Willie in the closs,
Bat the fairest lady among them a’
Took Willie frae his horse.
18
Four-an-tuenty bonny ladys
Lead Willie to the table,
Bat the fairest lady among them a’
Led his hors to the stable.
19
She leaned betuen the gray folle an the waa,
An gae a call opon;
‘O my back is fue sore,
An I sae far fra home!
20
‘Fan I was in my father’s bour,
I ware goud to my hell;
Bat nou I am among Willie’s hors feet,
An the call it will me kell.
21
‘Fan I was in my midder’s bour
I wear goud to my head;
Bat nou I am among Willie’s hors feet,
And the calle will be my dead.’
22
‘Fatten a heavey horse-boy, my son Willie,
Is this ye ha brought to me?
Some times he grous read, read,
An some times paill an wane;
He louks just leak a woman we bairn,
An no weis es leak a man.’
23
‘Gett up, my heavey hors-boy,
Gie my hors corn an hay;’
‘By my soth,’ says her Fair Ellen,
‘Bat as fast as I may.’
24
‘I dreamed a dream san the straine,
Gued read a’ dreams to gued!
I dreamed my stable-dor was opned
An stoun was my best steed.
Ye gae, my sister,
An see if the dream be gued.’
25
. . . . . . .
. . . . . . .
She thought she hard a baby greet,
Bat an a lady mone.
26
. . . . . . .
. . . . . . .
‘I think I hard a baby greet,
Bat an a lady mone.’
27
‘A askend, Willie,’ she says,
‘An ye man grant it me;
The warst room in a’ yer house
To your young son an me.’
28
[‘Ask on, Fair Ellen,
Ye’r sure yer asken is free;]
The best room in a’ my house
To yer young son an ye.’
29
‘[A] asken, Willie,’ she sayes,
‘An ye will grant it me;
The smallest bear in yer house
To [yer] young son an me.’
30
‘Ask on, Fair Ellen,
Ye’r sure your asken is free;
The best bear in my house
[To yer young son an ye.]
31
‘The best bear in my house
Is the black bear an the wine,
An y_e_ sall haa that, Fair Ellen,
To you an yer young son.’
32
‘[A] askent, Willie,’ she says,
‘An ye will grant [it] me;
The warst maid in yer house
To wait on yer young son an me.’
33
‘The best maid in my house
Is my sister Meggie,
An ye sall ha her, Fair Ellen,
To wait on yer young son an ye.
34
‘Chire up, Fair Ellen,
Chire up, gin ye may;
Yer kirking an yer fair weding
Sail baith stand in ae day.’
* * * * *
1^6. bab have.
3^2. bide. _Cf._ =B= 3, =G= 1, =I= 1, =J= 1.
20^3. I an.
20^4. me gell.
21^2. my hell _again_.
21^4. And an.
30^2. sure yours.
64. Fair Janet.
P. 102. (See III, 497 b, No 5.) Add: ‘La Fiancée du Prince,’ Revue des
Traditions Populaires, VIII, 406-409, two versions.
65. Lady Maisry.
P. 114. =A.= The variations in the Abbotsford MS. “Scottish Songs” are
of the very slightest value; but as the MS. is in Scott’s hand, and as
Scott says that they were from his recollection of recitation in the
south of Scotland, they may be given for what they are worth. (See the
note, IV, 387.)
‘Lady Maiserye,’ fol. 34, back.
1^2. Are a’.
1^4. she’ll hae.
2, 3, _wanting_.
4^{1,2}.
They woo’d her up, they woo’d her doun,
They woo’d her in the ha.
5^1. my lords, she said.
5^2. on me.
5^4. And I have na mair to gie.
6^1. father’s wily page.
6^3. For he has awa to her bauld brother.
7^1. O are my father and mother.
7^2. brethren.
8^1. are weel.
8^2. Likewise your brethren.
8^4. But she’s shamed thy name and thee.
9^1. true, thou little page.
9^2. A bluidy sight thou’s see.
9^3. thou tells.
9^4. High hanged sall thou be.
10^1. O he has gane to.
10^4. Kaming.
11. _A stanza with_ “modern” _in the margin_.
12^1. The lady turnd her round about.
12^2. The kame fell.
12^{3,4}.
The bluid ran backward to her heart
And left her cheek sae wan.
13.
‘O bend nae sae, my dear brother,
Your vengefu look on me!
My love is laid on Lord William,
And he is married to me.’
14^1. ye hae gotten knights and lords.
14^2. Within.
14^3. drew.
15^1. your English love.
15^3. For shouldst think of him an hour langer.
15^4. Thy.
16^1. I wad gie up my English love.
16^3. or an hour.
_After 16 this stanza, not marked_ “modern:”
‘Ah, faithless woman, trow nae sae
My just revenge to flee,
For a’ your English lordling’s power,
Our ancient enemy.’
17^1. where are a’ my wight.
17^4. this strumpet.
18^2. at my.
19^1. and spake.
19^2. Stude weeping by her side.
19^3. wad rin this.
20. _wanting._
21^1, 22^1. And when.
21^3. to grass growing.
22^{1,5}. yate.
22^2. bade na chap nor.
22^3. to his.
22^5. And er.
23^1. O are.
23^2. Or are.
23^3. Or has my lady gien to me.
23^4. A dear: or a.
24^1. biggins are na broken, lord.
24^2. Nor yet.
24^3. a’ Scotlande.
24^4. This day for you.
25^1. to me the black horse.
25^2. O saddle to me.
25^3. Or saddle to me.
25^4. ere yet rode.
26^2. neeze.
26^3. your fire, my fierce.
26^4. no yet at.
27^1. And when: yate.
28^{1,2}.
And still, Mend up the fire, she cried,
And pour its rage round me.
28^4. will mend it soon for.
29^1. O had my hands.
29^2. Sae fast.
29^4. To save thy infant son.
30^{1,3}. for thee.
30^2. Thy sister and thy brother.
30^4. Thy father and thy mother.
31^1. for thee.
31^2. a’ thy.
31^3. that I make.
31^4. I sall.
115. =B.= Variations of C. K. Sharpe’s own MS. (“second collection”):
2^4. on my (_wrongly_).
4^4. It’s liars.
8^2. That’s what I’ll.
10^2. brother.
13^3. But when.
20^1, 21^1, 22^1. rode on.
22^4. Janet’s excit (_Motherwell_, exite).
24^1. said.
27^4. mony one.
66. Lord Ingram and Chiel Wyet.
P. 128. =A.= Collated with Sharpe’s MS., p. 17. The MS., which is in
the handwriting of Sharpe, contains the same ballads as an Abbotsford
MS. called North Country Ballads, but the two copies are independent
transcripts. In a note to Sharpe, without date (Sharpe’s Ballad Book,
ed. 1880, p. 148), Scott says, “I enclose Irvine’s manuscripts,
which are, I think, curious. They are at your service for copying or
publishing, or whatever you will.” Hugh Irvine, Drum, communicated
to Scott a copy of ‘Tam Lin’ (see IV, 456), and it is possible that
the manuscripts referred to in Scott’s note were the originals of the
“North Country Ballads.”
1^4. their bonneur.
8^2. to kill.
11^1. boy says.
11^2. An will.
14^{1,3}. line that he.
15^1. (bacon).
16^4. she _wanting_.
18^{2,4}. garl, marl, _are Sharpe’s corrections for words struck out,
which seem to be_ guell, meal.
19^1. and that.
21^2. saft.
23^1. twice, so did I.
26^1. did stand.
31^4. he _wanting_.
_Only_ 14^{1,3}, 16^4, 23^1, 31^4, _are wrongly given in
Motherwell_.
Scott’s MS.--_The name_ Maisery _is wanting throughout_.
23^3. only _for_ one.
28. _wanting._
30^3. had.
31^2. beg _wrongly copied_ by.
68. Young Hunting.
P. 145. =A= 22. Findlay’s MSS, I, 146, gives a corresponding stanza,
from Miss Butchart, Arbroath:
‘Ye’ll gie ower your day’s doukin
An douk upon the nicht,
An the place Young Redin he lies in
The torches will brin bricht.’
148. =C= 21, 22. At the same place in Findlay’s MSS we find these
stanzas, from Miss Bower:
The firsten grasp that she got o him,
It was o his yellow hair;
O wasna that a dowie grasp,
For her that did him bear!
The nexten grasp that she got o him,
It was o his lillie hand;
O was na that a dowie grasp,
For her brocht him to land!
69. Clerk Saunders.
P. 156 b, 2d paragraph. Austerities. ‘Mijn haer sel onghevlochten
staen,’ etc. ‘Brennenberg,’ Hoffmann, Niederländische Volkslieder, p.
33, No 6, st. 17.
IV, 468 a, 3d line. Add: also four versions of Karl Hittebarn, No 294.
71. The Bent sae Brown.
P. 170. =Danish.= ‘Jomfruens Brødre,’ Kristensen, Skattegraveren, II,
145 ff., Nos 717-23 V, 81 ff., Nos 632-34; Efterslæt til Sk., p. 15, No
13, p. 84, No 79, ‘Den ulige Kamp;’ Folkeminder, XI, 139, No 53, A-C,
p. 307, No 53.
73. Lord Thomas and Fair Annet.
P. 181, III, 510 b, IV, 469 a. Add another version of ‘Le Rossignolet,’
Rev. des Trad. pop., VIII, 418.
192. =G= as it stands in “The Old Lady’s Collection,” No 24.
1
Suit Willie an Fair Annë,
They satt on yon hill,
An fra the morning till night this tua
Never ta’ked ther fill.
2
Willie spak a word in jeast,
An Anny toke it ill:
‘We’s court ne mare mean madens,
Agenst our parents’ will.’
3
‘It’s na agenst our parents’ will,’
Fair Annie she did say;
. . . . . . .
. . . . . . .
4
Willie is hame to his bour,
To his book alean,
An Fair Anni is to her bour,
To her book an her seam.
5
Suit Willie is to his mider dear,
Fell lou doun on his knee:
‘A asking, my mider dear,
An ye grant it me;
O will I marry the nut-broun may,
An latt Faire Anny be?’
6
‘The nut-broun may has ousen, Willie,
The nut-broun may has kay;
An ye will wine my blissing, Willie,
An latt Fair Anny be.’
7
He did him to his father dear,
Fell lou doun on his knee:
‘A asken, my father,
An ye man grant it me.’
8
‘Ask on, my ae sin Willie,
Ye’r sear yer asking is frea;
Except it be to marry her Fair Anny,
An that ye manna deei.’
9
Out spak his littel sister,
As she sat by the fire;
The oxe-lig will brak in the plough,
An the cou will droun in the mire.
10
‘An Willie will hae nathing
Bat the dam to sitt by the fire,
An Faire Annie will sit in her beagly bour,
An wine a eearl’s hire.’
11
‘Fair faa ye, my littel sister,
A gued dead matt ye dee!
An ever I hae goud,
Well touchered sall ye be.’
12
Hi’se away to Fair Annie,
As fast as gang coud he:
‘O will ye come to my marrag?
The morn it’s to be.’
‘O I will come to yer marrag the morn,
Gin I can wine,’ said she.
13
Annie did her to her father d[ea]r,
Fell lou doun on her knee:
‘An askin, my father,
An ye mane grant it me;
Latt me to Suit Willie’s marrage,
The morn it is to be.’
14
‘Your hors sall be siler-shod afor,
An guid read goud ahind,
An bells in his main,
To ring agenst the wind.’
15
She did her to her mother dear,
Fell lou on her knee:
‘Will ye latt me to Willie’s marrage?
To-morraa it is to be.’
‘I ill latt ye to Willie’s marrage,
To-morray it is to be.’
16
Fan Annë was in her sadel sett,
She flamd agenst the fire;
The girdell about her sma middell
Wad a wone a eearl’s hire.
17
Fan they came to Mary kirk,
An on to Mary quir,
‘O far gat ye that water, Annë,
That washes ye sae clean?’
‘I gat it in my fa(t)hers garden,
Aneth a marbell stane.’
18
‘O fare gatt ye that water, Annë,
That washes ye sae fett?’
‘I gat it in my mider’s womb,
Far ye never gat the leak.
19
‘For ye ha ben cirsned we mose-water,
An roked in the reak,
An sin-brunt in yer midder’s womb,
For I think ye’ll never be faitt.’
20
The broun bride pat her hand in
Att Annë’s left gare,
An gen her. .. .. .. .
A deap wound an a sare.
21
O Annë gid on her hors back,
An fast away did ride,
Batt lang or kok’s crawang
Fair Annë was dead.
22
Fan bells was rung, an messe was sung,
An a’ man boun to bed,
Suit Willie an the nut-broun bride
In a chamber was lead.
23
But up an wakned him Suit Willie,
Out of his dreary dream:
‘I dreamed a dream this night,
God read a’ dreams to gued!
24
‘That Fair Annë’s bour was full of gentelmen,
An her nen sellf was dead;
Bat I will on to Fair Annie,
An see if it be gued.’
25
Seven lang mille or he came near,
He hard a dulfull chear,
Her father an her seven bretheren
Making to her a bear,
The half of it guid read goud,
The eather silver clear.
26
‘Ye berl att my love’s leak
The whit bread an the wine,
Bat or the morn att this time
Ye’s de the leak att mine.’
27
The tean was beared att Mary kirk,
The eather att Mary quir;
Out of the an grue a birk,
Out of the eather a brear.
28
An ay the langer att they grue
They came the eather near,
An by that ye might a well kent
They war tua lovers dear.
* * * * *
4^2. _There may have been a word between_ book _and_ alean.
5^6. bay: _cf._ 6^4.
16^2. flamd _is doubtful_.
21^4. farie.
23^3. might.
74. Fair Margaret and Sweet William.
P. 199. The Roxburghe copy, III, 338, Ebsworth, VI, 640, is a late one,
of Aldermary Church-Yard.
200 b. =A c= is translated by Pröhle, G. A. Bürger, Sein Leben u.
seine Dichtungen, p. 109.
75. Lord Lovel.
P. 204 f., note †, 512 b, IV 471 a. Add ‘Der Graf und das Mädchen,’
Böckel, Deutsche V.-l. aus Oberhessen, p. 5, No 6; ‘Es schlief ein Graf
bei seiner Magd,’ Lewalter, Deutsche V.-l. in Niederhessen gesammelt,
2^3 Heft, p. 3, No 2: ‘Der Graf und sein Liebchen,’ Frischbier u.
Sembrzycki, Hundert Ostpreussische Volkslieder, p. 34, No 21.
205 a, note, III, 510 b, IV, 471 b. =Scandinavian=, Other copies
of ‘Lille Lise,’ ‘Greven og lille Lise,’ Kristensen, Efterslæt til
Skattegraveren, p. 18, No 15, Folkeminder, XI, 159, No 62, A-D.
205. ‘Den elskedes Død,’ Berggreen, Danske Folkesange, 3d ed., p. 162,
No 80 b; Svenske Fs., 2d ed., p. 84, No 66 b.
The ballad exists in Esthonian: Kaarle Krohn, Die geographische
Verbreitung estnischer Lieder, p. 23.
76. The Lass of Roch Royal.
P. 213. =B= was received by Herd, with several other ballads, “by post,
from a lady in Ayrshire (?), name unknown:” Herd’s MSS, I, 143.
215 b, 2d paragraph, tokens. Add: Ζωγραφεῖος Ἀγών, p. 90, No 67, p. 91,
No 69, p. 95, No 81.
The lady demands love-tokens of Clerk Saunders’ ghost, No 69, =G=, 33,
II, 166.
219. =C= occurs in C. K. Sharpe’s small MS. volume “Songs,” p. 40, and
must have been communicated to Sharpe by Pitcairn. Collation:
2. It’s open, etc.: _not written in full_.
3^3, 4^3. Ruchley hill.
5^3. give me.
6. Do not you mind, etc.: _not written in full_.
7 _wanting._
8^1. turned round.
10^1. It’s awa.
10^3. have got the.
13^1. that he.
14^1. Let down, let down.
14^3. late _wanting_.
15^3. morrow.
15^4. of mine.
16, 17, _wanting._
77. Sweet William’s Ghost.
P. 228, note †. Add: Zingerle, in Zeitschrift für Volkskunde, II, 147.
229. =C= is translated by Pröhle, G. A. Bürger, Sein Leben u. seine
Dichtungen, p. 106.
78. The Unquiet Grave.
P. 236 b, last paragraph. See the preface to ‘The Suffolk Miracle’ in
this volume, p. 58 ff.
This “fragment,” in a small MS. volume entirely in C. K. Sharpe’s
handwriting (“Songs”), p. 21, “from the recitation of Miss Oliphant of
Gask, now Mrs Nairn” (later Lady Nairne), evidently belongs here.
O wet and weary is the night,
And evendown pours the rain, O,
And he that was sae true to me
Lies in the greenwood slain, O. P. 21.
80. Old Robin of Portingale.
P. 240. ‘Sleep you, wake you.’ So, ‘Soldatenlohn,’ Zeitschrift für
Volkskunde, II, 426, sts. 6, 7; Hruschka u. Toischer, Deutsche
Volkslieder aus Böhmen, p. 183, No 147 a, 4^5, b 3^5, p. 195, No
171, 2^1, No 172, 4.
240, 513 a, III, 514, IV, 476. Two religious persons from India display
to the Pope a cross burned on the breast in token of Christian faith,
and also a baptismal mark on the right ear, “non flumine sed flamine:”
Chronicon Adae de Usk ad ann. 1404, ed. E. M. Thompson, p. 90. See also
the reference to York’s Marco Polo, 1875, II, 421, in Mr Thompson’s
note, p. 219. (G. L. K.)
81. Little Musgrave and Lady Barnard.
P. 242. ‘Little Musgrave’ is entered to Francis Coules in the
Stationers’ Registers, 24 June, 1630: Arber, IV, 236.
85. Lady Alice.
P. 279.
C
Miss M. H. Mason’s Nursery Rhymes and Country Songs, p. 46, ‘Giles
Collin.’
1
Giles Collin he said to his mother one day,
Oh, mother, come bind up my head!
For tomorrow morning before it is day
I’m sure I shall be dead.
2
‘Oh, mother, oh, mother, if I should die,
And I am sure I shall,
I will not be buried in our churchyard,
But under Lady Alice’s wall.’
3
His mother she made him some water-gruel,
And stirred it up with a spoon;
Giles Collin he ate but one spoonful,
And died before it was noon.
4
Lady Alice was sitting in her window,
All dressed in her night-coif;
She saw as pretty a corpse go by
As ever she’d seen in her life.
5
‘What bear ye there, ye six tall men?
What bear ye on your shourn?’
‘We bear the body of Giles Collin,
Who was a true lover of yourn.’
6
‘Down with him, down with him, upon the grass,
The grass that grows so green;
For tomorrow morning before it is day
My body shall lie by him.’
7
Her mother she made her some plum-gruel,
With spices all of the best;
Lady Alice she ate but one spoonful,
And the doctor he ate up the rest.
8
Giles Collin was laid in the lower chancel,
Lady Alice all in the higher;
There grew up a rose from Lady Alice’s breast,
And from Giles Collin’s a briar.
9
And they grew, and they grew, to the very church-top,
Until they could grow no higher,
And twisted and twined in a true-lover’s knot,
Which made all the parish admire.
90. Jellon Grame.
P. 303 b, 513 b, III, 515 b, IV, 479 b. Precocious growth.
The French romance of Alexander. Albéric de Besançon: Alexander had
more strength when three days old than other children of four months;
he walked and ran better from his first year than any other child from
its seventh. (The same, nearly, in Lamprecht, vv. 142-4: he throve
better in three days than any other child of three months; 178-80,
in his first year his strength and body waxed more than another’s in
three.) MS. de l’Arsenal: the child grew in vitality and knowledge more
in seven years than others do in a hundred. MS. de Venise: he grew
more in body and knowledge in eight years than others in a hundred. P.
Meyer, Alexandre le Grand, I, 5, v. 56 f., 6, v. 74 f., 27, v. 39 f.,
240, v. 53 f. ‘Plus sot en x jors que i. autres en c:’ Michelant, p. 8,
v. 20. A similar precocity is recorded of the Chinese Emperor Schimong:
Gützlaff, Geschichte der Chinesen, hrsgg. v. Neumann, S. 19, cited by
Weismann, Lamprecht’s Alexander, I, 432.
In the romance of Mélusine it is related how, after her disappearance
in serpent-form, she was seen by the nurses to return at night and care
for her two infant sons, who, according to the earliest version, the
prose of Jehan d’Arras, grew more in a week than other children in a
month: ed. Brunet, 1854, p. 361. The same in the French romance, l.
4347 f., the English metrical version, l. 4035-37, and in the German
Volksbuch. (H. L. Koopman.)
Tom Hickathrift “was in length, when he was but ten years of age, about
eight foot, and in thickness five foot, and his hand was like unto a
shoulder of mutton, and in all parts from top to toe he was like a
monster.” The History of Thomas Hickathrift, ed. by G. L. Gomme, Villon
Society, 1885, p. 2. (G. L. K.)
305. =B.= The following, a variety of =B=, is from the papers of
Charles Kirkpatrick Sharpe, “second collection,” p. 6.
1
Word has come to May Young Ro,
In her bower where she sat,
‘You’r bidden come to good green wood
And sew your love a shirt.’
2
‘I wonder much,’ said May Young Roe,
‘Such word is come to me;
Ther’s not a month throwout this year
But I have sewed him three.’
3
Then out it spake her mother,
And a wise word spoke she;
Said, Stay at home, my daughter,
They want to murder thee.
4
‘I will cast off my gloves, mother,
And hing them on a pin;
If I come never back again,
You’l mind on your daugh[t]er young.
5
‘Come here, my boy,’ she cried,
‘And bring my horse to me,
That I may ride to good green wood,
The flowers in it to see.’
6
When she was got to good green wood,
No further did she ride
Till up did start him Hind Henry,
Just at the ladie’s side.
7
‘O stop, O stop there, May,’ he cried,
‘O stop, I say to thee;
The boy who holds your bridle-reins
Shall see your body wea.’
8
Then out he drew a large long brand,
And struck it ower a str[ow],
And throw and throw that ladie’s side
He made the cold steel go.
9
Said, Take you that now, May Young Roe,
Just take you that from me,
Because you loved Brown Robin,
And never would love me.
10
The boy was in a dreadful fright,
And in great haste rode home,
Lamenting sadly all the way,
And made a piteous moan.
11
And when her mother heard his tale
She took the bed of care;
Her sister ran to good green wood,
A tearing of her hair.
12
There was small pity for that lady,
Where she was lying dead,
Compared with for the pretty babe,
Weltring among the blood.
13
‘I will take up this babe,’ she said,
‘And lull him on my sleeve;
Altho his father should wish me woe,
His mother was to me live.’
14
Now she has taken the boy up,
And she has brought him hame,
And she has called him Brown Robin,
It was his father’s name.
15
And she has nursed him carefuly,
And put him to the school,
And any who affronted him
He soon did make cry dule.
16
And it fell ance upon a time
It was a haly day,
And all the boys at that school
On it they got the play.
17
He hied him unto good green wood,
And leap from tree to tree,
And there did pull some hollin wands,
To play his own self we.
18
And aft he looked on a spot,
And at it marvelled sair,
That all the wood was clad with leaves,
And that one spot was bare.
19
And he said unto Hind Henry,
‘I wonder very sair
That all the wood is clad with leaves,
And this one spot is bare.’
20
‘You need not wonder, boy,’ he said,
‘You need not wonder none,
For it is just the very spot
I killed your mother on.’
21
The boy’s pulled out his daggar then,
And struck it ower a strow,
And even to Hind Henry’s heart
He made the cold steel go.
22
Says, Take you that, you vile Henry,
Just take you that from me,
For killing of my mother dear,
And she not harming thee.
91. Fair Mary of Wallington.
P. 314, IV, 480 a. =D.= 10^3 in Kinloch MSS, V, 363, reads, I
hear this babe now from her side; but in Mr Macmath’s transcript of
Burton’s MS., No 2, I bear ... my side.
316. ‘The Lady of Livenston,’ from “The Old Lady’s Collection,” No 32.
G
1
‘We was sisters, we was seven,
Five of us dayed we child,
An you an me, Burd Ellen,
Sall live maidens mild.’
2
Ther came leards, an ther came lords,
An knights of high degree,
A’courting Lady Messry,
Bat it widne deei.
3
Bat the bonny lord of Livenston,
He was flour of them a’,
The bonny lord of Livenston,
He stole the lady awaa.
4
Broad was the horses hoves
That dumped the water of Clide,
An a’ was for honor of that gay lady
That day she was Livenston’s bride.
5
Fan she came to Livenston
Mukell mirth was ther;
The knights knaked ther whit fingers
The ladys curled ther hear.
6
She had no ben in Livenston
A tuall-month an a day,
Till she was as big we bearn
As a lady coud gaa.
7
She had ne ben in Livenston
A tuall-month an a hour,
Till for the morning of the may
The couldne ane come near her bour.
8
‘Far will I gett a bonny boy
That will rean my earend shoun,
That will goo to leve London,
To my mother, the quin?’
9
‘Hear am I, a bonny boy
Will rin yer earend sune,
That will rin on to fair London,
To yer mother, the quin.’
10
‘Hear is the bruch fra my breast-bane,
The garlands fra my hear;
Ye ge that to my mider,
Fra me she’ll never gett mare.
11
‘Hear is the rosses fra my shoun,
The ribbons fra my hear;
Ye gee that to my mider,
Fra me she’ll never gett mare.
12
‘Hear is my briddel-stand,
It is a’ goud to the heam;
Ye gie that to Burd Ellen,
Forbed her to marry men.
13
‘Ye bid them and ye pray them bath,
If they will dou it for my sake,
If they be not att my death,
To be att my leak-wake.
14
‘Ye bid them and ye pray them baith,
If they will dou it for my name,
If they be not att my leak-wake,
To be att my birrien.’
15
Fan he came to grass grouen,
He strated his bou an rane,
An fan he came to brigs broken
He slaked his bou an swam.
16
An fan he came to yon castell,
He bad nether to chap nor caa,
But sait his bent bou to his breast
An lightly lap the waa;
Or the porter was att the gate,
The boy was in the haa.
17
‘Mukell meatt is on yer table, lady,
An littil of it is eaten,
Bat the bonny lady of Livenston
Ye have her clean forgotten.’
18
‘Ye lie, ye lie, ye bonny boy,
Sae loud as I hear ye lie;
Mukell ha I sold the [meatt],
An littel hae I bought,
Batt the bonny lady of Livenston
Gaas never out of my thought.
19
‘Mukell have I bought, bonny boy,
An littel haa I sale,
Bat the bonny lady of Livenston
She couls my heart fue cale.’
20
‘Hear is the ribbings fra her hear,
The roses fra her shoun;
I was bidden gie that to her midder,
To her midder, the quin.
21
‘Hear is the bruch fra her breast-bean,
The garlands frae her hear;
I was bidden gee that to her mother,
Fra her she’ll never gett mare.
22
‘Hear is her bridell-stand,
The’r a’ goud to the heam;
I was bidden ga that to Burd Ellen,
Forbid her to marry man.
23
‘She bids ye an she prays ye bath,
Gin yee’ll di et for her sake,
If ye be not att her death,
To be att her leak-wake.
24
‘She bidds yee an she prays ye bath,
Gine ye’ll dou et for her name,
If ye be not att her leak-wake,
To be at her burrien.’
25
‘Garr saddell to me the blak,
Saddle to me the broun,
Gar saddel to me the suiftest stead
That ever read fraa a toun,
Till I gaa to Livenston
An see hou Measry fairs.’
26
The first stead was saddled to her,
It was the bonny black;
She spured him aftt and she spared him na,
An she tayened him at a slap.
27
The neast stead that was saddled to her
Was the berrey-broun;
She spured him aftt an she spared him not,
An she tayned him att a toun.
28
The neast an steed that was saddled to her,
It was the milk-white:
‘Fair faa the mear that folled the foll
Had me to Meassry’s leak!’
29
Fan she came to Livenston,
Mukel dolle was ther;
The knights wrang ther whit fingers,
The ladys tore ther hear.
30
The knights they wrang ther whit fingers,
The rings they flue in four:
‘Latt haas an tours an a’ doun fan!
My dear thing has gine it our.’
31
Out spak him Livenston,
An a sorry man was he;
‘I had rader lost the lands of Livenston,
Afor my gay lady.’
32
‘Had yer toung nou, Livenston,
An latt yer folly be;
I bare the burd in my bosom,
I man thole to see her diee.’
33
Fan she came to her doughter’s boure,
Ther was littel pride;
The scoups was in her doughter’s mouth,
An the sharp shirrs in her side.
34
Out spake her Burd Ellen,
An she spake ay threu pride;
The wife sall never bear the sin
Sall lay doun by my side.
35
‘Had your toung nou, Burd Ellen,
Ye latt yer folly a be;
Dinnë ye mind that ye promised yer love
To him that is ayond the seaa?’
36
‘Hold yer toung, my mother,
Ye speak just leak a fooll;
Tho I wer marred att Martimes,
I wad be dead or Yeull.’
37
‘I have five bonny oyes att heam,
Ther was never ane of them born,
Bat every are of them
Out of ther midder’s sides shorn.’
* * * * *
5^2. The knights knaked ther whit fingers _is certainly an
anticipation_. _This is always done for anguish: see_ 29^{3,4},
30^{1,2}.
7^{3,4}. Till ther couldne ane come near her bour For the morning of
they may. _Perhaps_ moaning.
16^2. he had.
18^3. _Perhaps_ the meat.
19^{2,4}. sale, cale (_for_ sold, cold).
22^2. hean.
22^3. bidden ga.
35^3. Didde.
92. Bonny Bee Horn.
P. 317. ‘The Lowlands of Holland.’ In ‘The Sorrowful Lover’s Regrate,
or, The Low-Lands of Holland,’ British Museum 1346. m. 7(40), dated
May the 5th, 1776, a threnody in eleven double stanzas. 1, 2 of the
copy in Johnson’s Museum are 1, 2; Johnson, 3==7, 4==4, 5==6, 6==3,
and the stanza added by Stenhouse is 9 (with verbal divergences). ‘The
Maid’s Lamentation for the loss of her true love,’ Museum 11621. c.
3(39), “Newcastle, 1768?,” the fifth piece in The Complaining Lover’s
Garland, has five stanzas: 1 corresponding to 2 of Johnson, 2 to 5, 5
to 6, 3 to 5 of the Regrate, and 4 to 9, with considerable differences.
‘The Seaman’s Sorrowful Bride,’ Roxburghe, IV, 73, Ebsworth, VI, 444,
begins with two stanzas which resemble Johnson, 2, 1. This last was
printed for J. Deacon, in Guilt-spur-street, and the date, according to
Chappell, would be 1684-95.
93. Lamkin.
P. 331, =I=, as it stands in “The Old Lady’s Collection,” No 15.
1
Lamken was as gued a masson
as ever did hue ston;
He bigged Lord Weary’s house,
an pament never got non.
2
It fell ance on a day
Lord Weary went from home,
An Lamkin came to the fause nirice,
. . . . . . .
* * * * * * *
3
‘O still my bairn, nirice,
still him we the kniff:’
‘He winnë still, lady,
tho I sud lay doun my life.’
4
‘O still my bairn, nirice,
still him we the bell:’
‘He winnë still, lady,
till ye come doun yersell.’
5
The first step she came on,
it was the stane;
The nest step
she mett him Lamkin.
6
‘O spare my life, Lamkin,
an I ell gee ye a peak of goud well laid on;
An that dinnë pleas ye,
I ell heap it we my hand.’
7
‘O will I kill the lady, nirice,
or will I lat her gang?’
‘O kill her, Lanken,
she was never gued to me.’
8
‘O wanted ye yer meatt, nirice?
or wanted ye yer fiee?
Or wanted ye the other bountys
lady’s are wont to gee?’
9
. . . . . .
. . . . . .
‘Kill her, Lanken,
she was never gued to me.’
10
‘Ye wash a bason, nirice,
an ye wash it clean,
To cape this lady’s blode;
she is come of high kine.’
11
‘I winnë wash a bason,
nor wash it clean,
To cap this lady’s blod,
tho she be come of high kine.’
12
Bonny sang yon burd
as he satt on the tree,
Bat sare grat Lamkin
fan he was hanged hie.
13
Bonny sang the burd
that satt on the hill,
Bat sare grat the nirice
fan the caldron began to boill.
14
Lankin was hanged,
. . . . . high,
An the faus nirice
was burnt in the cadron was she.
* * * * *
339 ff., 513, IV, 480.
Y
‘Lammikin,’ Findlay’s MSS, I, 173, “from J. Milne, who wrote it down
from recitation by John Duncan.”
1
Lie in your room, my wife,
. . . . . .
. . . . . .
. . . . . .
2
‘You’ll fasten doors and windows,
you’ll fasten them out an in,
For if you leave ae window open
Lammikin will come in.’
3
They’ve fastened doors an windows,
they’ve fastened them out an in,
But they have left ae window open,
an Lammikin cam in.
4
‘O where are a’ the women
that dwell here within?’
‘They’re at the well washin,
and they will not come in.’
5
‘O where are a’ the men
that dwell here within?’
‘They’re at the. .. .,
and they will not come in.’
6
‘O where is the lady
that dwells here within?’
‘She’s up the stair dressin,
an she will not come doun.’
7
‘It’s what will we do
to mak her come doun?
We’ll rock the cradle, nourrice,
an mak her come doun.’
8
They [hae] rocked the cradle
to mak her come doun,
. . . . . .
the red bluid out sprung.
9
‘O still the bairn, nourrice,
O still him wi the bell:’
‘He winna still, my lady,
till ye come doun yersel.’
10
The first step she steppit,
it was upon a stane;
The next step she steppit,
she keppit Lammikin.
11
‘O mercy, mercy, Lammikin,
hae mercy upo me!
Tho ye hae killed my young son,
ye may lat mysel abee.’
12
‘O it’s will I kill her, nourrice,
or will I lat her be?’
‘O kill her, kill her, Lammikin,
she neer was gude to me.’
13
‘O it’s wanted ye your meat?
or wanted ye your fee?’
. . . . . .
. . . . . .
14
‘I wanted not my meat,
I wanted not my fee,
But I wanted some bounties
that ladies can gie.’
95. The Maid freed from the Gallows.
P. 346, III, 516 a, IV, 481 b. =Italian.= Maria Carmi, Canti pop.
Emiliani, Archivio, XII, 189. Brunetina, after she has been rescued
by her lover, is informed, while she is dancing at a ball, that her
mother is dead. Bury her, she replies, I will dress in complete red,
and she goes on dancing. So of her father. But when told that her
lover is dead, she says she will dress in complete black, and bids the
music stop, for she wishes to dance no more. ‘La Ballerina,’ Nigra, No
107, p. 469, is no doubt the last half of this ballad corrupted at the
conclusion. The woman will not stop dancing for the reported death of
father, mother, brother, sister, husband, but when told that her boy is
dead asks the players to cease, her legs are broken, she can dance no
more.
In ‘Leggenda Marinesca’ (di Catanzaro), La Calabria, October, 1893,
VI, 16, a wife (or perhaps an affianced young woman) is ransomed from
pirates by her husband (or betrothed), after father, mother, and
brother have refused. If her father, mother, brother, should die, she
would deck her hair, dress in red, yellow, or white, bid the guitar
strike up, and dance; but if her true-love died, she would put on
black, cut her hair, and throw the guitar into the sea.
349. Mr Kaarle Krohn, of the University of Helsingfors, has favored me
with the following study of the very numerous Finnish and Esthonian
versions of this ballad, incorporating therein the researches of his
father, Julius Krohn, already referred to at IV, 482 a. (Estlander’s
discussion, which I had not seen, “Sången om den friköpta,” occupies
pp. 331-356 of the tenth volume of Finsk Tidskrift.)
I. The West Finnish versions, dispersed over West and East Finland
and Ingria. These are in the modern metre, which came into use hardly
before the end of the seventeenth century, and it is in the highest
degree probable that they were learned from the Swedes. About thirty
copies known. Specimen, Reinholm’s collection, H 12, No 76, from the
Nystad district northward from Åbo, in Southwest Finland; J. K., p.
11[120].
Prevailing traits: 1. The maid is sitting in a little room, less
frequently in a ship’s cabin or a boat. 2. The father has three horses.
3. The mother has three cows. 4. The brother has three swords. 5. The
sister has three crowns, or, in copies from further east, where crowns
are not used for head-gear, three silk kerchiefs. 6. The lover has
three ships, or almost as often three castles (mansions). There are
variations, but rarely, as to the objects possessed, and sometimes
exchanges, but only two cases are of importance. In one copy from the
extreme of Southeast Finland, the father has three oxen, which seems to
be the original disposition, the change to horses coming about from the
circumstance that oxen are seldom employed for ploughing in Finland. In
four copies from the most eastern part of Finland the sister has three
sheep, perhaps owing to the influence of the East Finnish versions. 7.
The imprecations and benedictions at the end occur regularly. May the
horses be knocked up or die at ploughing-time; may the cows die, dry
up, etc., at milking-time; the swords shiver in war-time; the crowns
fall off or melt at wedding or dance (the silk kerchiefs tear, fade,
spoil with wet); and on the other hand, may the ships sail well, do
well, make money at trading-time; the castles rise, flourish in time of
destitution, of bad crops. Etc.
II. The later Esthonian versions, Esthonia and Livonia, in modern
metre, of more recent origin, probably, than in Finland. About twenty
copies known. Specimen, J. Hurt, Vana Kannel, II, 365, No 367. Lilla is
sitting in the little room in weary expectation. She sees her father
walking on the sea-beach. ‘Dear father, beloved father, ransom me!’
‘Wherewith ransom you, when I have no money?’ ‘You have three horses at
home, and can pawn one.’ ‘I can do better without my Lilla than without
my three horses; the horses are mine for all my life, Lilla for a short
time.’ In like fashion, the mother is not willing to sacrifice one of
her three cows, the brother one of his three swords, the sister one of
her three rings. But the lover, who has three ships, says, I can better
give up a ship than give up my dear Lilla; my ships are mine for a
short time, but Lilla for all my life. Lilla breaks out in execrations:
may her father’s horses fall dead when they are ploughing in summer,
may her mother’s cows dry up in milking, her brother’s swords shiver in
war, her sister’s rings break in the very act of marrying; but may her
true-love’s ships long bring home precious wares.
Prevailing traits: 1. Lilla; in some copies from East Livonia, Roosi.
2. Little room; quite as often prison-tower. 3. The father has horses,
the mother cows, the brother swords, as in the West Finnish versions.
The independency of the Esthonian ballad is exhibited in the sister’s
three rings. It must, as far as I can at present see, have been
borrowed directly from the Swedish, not through the medium of the
Finnish. The lover has always three ships, and it is often wished that
these ships may sail well in storm and in winter. The maledictions
occur regularly, as in the example cited. There are some divergences
as to the items of property, mostly occasioned by the older Esthonian
version: thus, the father has sometimes oxen or corn-lofts, the brother
horses, the sister brooches.
III. The older Esthonian versions, disseminated in Esthonia and
Livonia, and also among the orthodox Esthonians beyond Pskov. These are
in the old eight-syllable measure of the runes (and of Kalevala). More
than a hundred copies have been obtained.
a. Best preserved and of most frequent occurrence in the island of
Ösel. Twenty copies. Specimen from J. Hurt’s manuscript collections.
Anne goes into the cow-house and soils her cap. She proceeds to the
sea-beach to wash her cap. Ships come from Russia, from Courland. Anne
is made captive. She weeps, and begs that the ship may be stopped; she
wishes to take a look homewards. Her father has three oxen, one of
which has silver horns, another copper, the third golden, but he will
give none of them for her. Her mother has three cows, with silver,
copper, golden udders; her brother, three horses, with the same variety
of manes; her sister, three sheep, with wool of the three sorts; a
neighbor’s son, three lofts full of wheat, rye, barley. She wishes that
the oxen may die in ploughing-time, the cows in milk-time, the horses
at wooing-time, the sheep at wool-time; but may the corn-lofts of the
neighbor’s son grow fuller in the direst famine-time.
Prevailing traits: 1. The maid’s name is Anne. 2. The pirates are
Russians (10 times), Poles (6), Courlanders (2), Swedes (1), Germans
(1), English (1). 3. The father has commonly oxen; the mother, cows
always; the brother, almost always horses; the sister, sheep, six
times, oftener than anything else; the lover, ordinarily corn-lofts.
4. The cursing occurs ten times. There are in a few cases exchanges
of the sorts of property (thus, the father has corn-lofts, the sister
has brooches, each four times), and in two instances the lover is
omitted. The ballad has perhaps been affected by another (see II, 347
f.) in which a girl receives information that she has been sold by her
relations: by her father for a pair of oxen (25 cases) or for a horse
(18), by her mother for a cow, by her brother for a horse (24) or for a
pair of oxen (14), by her sister for a brooch; and she curses all that
they have got by the sale.
b. Less perfect and not so well preserved on the Esthonian mainland.
About 100 copies, more or fewer. Specimens, Neus, p. 109, No 34, Hurt,
Vana Kannel, I, 166, No 103, II, 310, No 442.
Prevailing traits: 1. The name of the maid, Anne, and the introduction
linked to it, are often dropped, especially in the southeast of
the Esthonian district, and a passage about a young conscript who
wishes to be bought off from serving is substituted. The maid, whose
brothers have hidden away, is pressed instead of them, and sent into
service. As she is driven by the house of her parents in the military
wagon she entreats her guards not to make sail! 2. The kidnapper is
most frequently a Russian, then Pole, Swede, less commonly German,
Courlander. In the northeast of the Esthonian district, on the border
of Ingria, Karelian, four times. 3. The father often keeps the oxen,
but almost as often has horses; the brother, in these last cases, has
seldom oxen, generally horses as well as the father. The alteration
is in part owing to the same material occasion as in the West Finnish
versions; sometimes an influence from the ballad of the maiden who has
been sold by her relatives may be suspected (in which ballad it is not
easy to say whether the oxen belong originally to father or brother).
Frequently the father has corn-lofts, the lover, to whom these would
belong, having dropped out. The mother has almost always cows; in the
northeast, on the Ingrian border, three times, aprons. The brother has
generally horses, five times oxen, with other individual variations.
The sister has preserved the sheep only four times; eight times she has
brooches, and in one of these cases the ballad of the maid sold by her
relatives is blended with ours, while in the remainder the influence of
that ballad is observable. In six cases she has rings, perhaps under
the influence of the later Esthonian versions. In the southeast she
has chests seven times, and in most of these cases the lover has the
rings. Other variations occur from one to four times. The lover has his
corn-lofts nine times. Eight times he has horses, and in half of these
instances he has exchanged with the brother, or both have horses. Twice
he has ships, through the influence of the later Esthonian versions; or
rings, in which cases the father ordinarily has the corn-lofts. 4. The
imprecation in the conclusion is but rarely preserved.
IV. The East Finnish versions. Diffused in Ingria, East Finland, and
Russian Karelia. In the old rune-measure, about forty copies. Specimen,
Ahlqvist’s collection, from East Finland, No 351: see J. K., p. 11.
Prevailing traits: 1. The maid is in a boat on the Neva. 2. The
kidnapper is a Russian. 3. The father has a horse, the mother a cow,
the brother a horse, the sister a sheep (each with an epithet). 4. The
imprecation is almost without exception preserved. This version arose
from a blending of the West Finnish, I, the older Esthonian, III, and
the ballad of the maid sold by her relatives. This latter occurs in
West Ingria in the following shape: The maid gets tidings that she
has been sold. The father has received for her a gold-horse (may it
founder when on the way to earn gold!), the mother a portly cow (may it
spill its milk on the ground!), the brother a war-horse (may the horse
founder on the war-path!), the sister a bluish sheep (may wolf and bear
rend it!). In some copies the father or the brother has oxen (may they
fall dead in ploughing!), as in the Esthonian ballad, from which the
Ingrian is borrowed. The sister’s sheep instead of brooch shows perhaps
the influence of the older Esthonian ballad of the maid begging to be
ransomed, or it may be an innovation.
The ballad of the maid sold by her family occurs in West Ingria
independently, and also as an introduction to the other, and has been
the occasion for the changes in the possessions of the relatives. North
of St Petersburg the combination is not found, though it has left its
traces in the course of the spreading of the ballad from Narva to St
Petersburg.
The maid’s sitting in a boat may come as well from the older Esthonian
as from the West Finnish version, although it is more common in the
latter for her to be sitting in the “little room.” The Russian as the
kidnapper is a constant feature in the older Esthonian version, but
occurs also three times in the West Finnish (once it is the red-headed
Dane, in the copy in which the oxen are preserved). Besides Russian,
the kidnapper is once called Karelian in West Ingria, often in East
Finland, and this denomination also occurs in Northeast Esthonia.
The influence of the older Esthonian versions is shown again in some
copies preserved in West Ingria which are not mixed up with the ballad
of the maid that has been sold; the mother having three aprons in two
instances, as in some Northeast Esthonian copies.
The river Neva as a local designation is preserved in East Finland,
and shows that the version in which it occurs migrated from Ingria
northwards. In the course of its migration (which ends in Russian
Karelia) this version has become mixed with the West Finnish in
multiform ways. The prelude of the East Finnish has attached itself
to the West Finnish, notwithstanding the different metre. The trilogy
of the latter has made its way into the former, and has spoiled the
measure. It is no doubt owing to the influence of the Western version
that, in North Ingria and Karelia, the brother, more frequently the
lover, has a war-sword, the lover once a sea-ship, or the brother a red
boat or war-boat.
Finally it may be noted that in those West Ingrian copies in which
the ballads of the maid sold and the maid ransomed are blended the
ransomer is a son-in-law, and possesses “a willow castle” (wooden
strong-house?), the relation of which to the castle in the West Finnish
version is not clear.
If we denote the West Finnish versions by =a=, the older Esthonian by
=b=, the ballad of the maid sold by her family by =c=, the status of
the East-Finnish versions may be exhibited thus:
In West Ingria, =b= + =c= + =a=. In North Ingria, =b= + =c= + =a= +
=a=. In Karelia, =b= + =c= + =a= + =a= + =a=.
That is to say, there has been a constantly increasing influence
exerted by the West Finnish versions upon the East Finnish Ingrian
versions, and reciprocally. This circumstance has caused it to be
maintained that the East Finnish versions were derived from the West
Finnish, in spite of the difference of the metre.
353 a. =F= was communicated by Rev. W. Findlay: Findlay MSS, I, 100.
353. =H. c.= Mrs Bacheller, of Jacobstown, North Cornwall (sister of
Mrs Gibbons, from whom 78 =H= was derived, see IV, 474 b), gave Rev. S.
Baring-Gould the following version of the tale, taught her by a Cornish
nursery maid, probably the same mentioned at the place last cited.
“A king had three daughters. He gave each a golden ball to play with,
which they were never to lose. The youngest lost hers, and was to be
hung on the gallows-tree if it were not found by a day named. Gallows
ready, all waiting to see the girl hung. She sees her father coming,
and cries:@
‘Father, father, have you found my golden ball,
And will you set me free?’
‘I’ve not found your golden ball,
And I can’t set you free;
But I am come to see you hanged
Upon the gallows-tree.’
The same repeated with every relationship, brother, sister, etc.; then
comes the lover:
‘Lover, lover, have you found the golden ball,’ etc.
‘Yes, I have found your golden ball,
And I can set you free;
I’m not come to see you hung
Upon the gallows-tree.’”@
* * * * *
354, IV, 481 f.
K
‘The Prickly Bush,’ Mr Heywood Sumner, in English County Songs,
by Lucy E. Broadwood and J. A. Fuller Maitland, p. 112. From
Somersetshire.
1
‘O hangman, hold thy hand,’ he cried,
‘O hold thy hand awhile,
For I can see my own dear father
Coming over yonder stile.
2
‘O father, have you brought me gold?
Or will you set me free?
Or be you come to see me hung,
All on this high gallows-tree?’
3
‘No, I have not brought thee gold,
And I will not set thee free,
But I am come to see thee hung,
All on this high gallows-tree.’
4
‘Oh, the prickly bush, the prickly bush,
It pricked my heart full sore;
If ever I get out of the prickly bush,
I’ll never get in any more.’
The above is repeated three times more, with the successive
substitution of ‘mother,’ ‘brother,’ ‘sister,’ for ‘father.’ Then the
first two stanzas are repeated, with ‘sweetheart’ for ‘father,’ and
instead of 3 is sung:
5
‘Yes, I have brought thee gold,’ she cried,
‘And I will set thee free,
And I am come, but not to see thee hung
All on this high gallous-tree.’
‘Oh, the prickly bush,’ etc.
In this version, a man is expressly delivered by a maid, contrary to
the general course of tradition. So apparently in =J=, IV, 481, as
understood by Dr. Birkbeck Hill.
96. The Gay Goshawk.
P. 355. M. G. Lewis, in a letter of May 29, 1800 (Letters at
Abbotsford, I, No 30), refers to a copy of this ballad (and one of
‘Brown Adam’) which he had furnished Scott. This might perhaps be the
“MS. of some antiquity” (printed, IV, 482).
As to the bird’s part in this ballad, compare the following passage. A
son, in prison, sending a letter to his mother by a bird, gives this
charge:
Quando giugnerete alla porta mia,
Là sta un ulivo.
Posati su quell’ ulivo,
V’agita e dibatti l’ali,
Ché di te caderà il foglio di carta.
De Rada, Rapsodie d’un poema Albanese, I, canto xvi, p. 29.
P. 356 a, III, 517 a, IV, 482 a. =French.= Add: ‘La belle qui fait
la morte,’ ‘La fille du duc de Montbrison,’ Pineau, Le Folk-Lore du
Poitou, p. 311, p. 389 (each, six stanzas); ‘La belle dans la tour,’
six copies (besides Belle Idoine repeated), M. Wilmotte in Bulletin de
Folklore, Société du Folklore Wallon, 1893, p. 35.
356 b, 3d paragraph, III, 517 a. Add: A copy of ‘Les trois capitaines,’
in Mélusine, VI, 52, 183; Wallonia, I, 38; “Fréd. Thomas, La Mosäique
du Midi, V, 1841; C. Beauquier, Mém. de la Soc. d’Émulation du Doubs,
1890,” Mélusine, VI, 220, where also a Catalan version, which had
escaped my notice, Milà y Fontanals, Romancerillo, p. 259, No 264, is
registered by M. Doncieux. A Breton version, Mélusine, VI, 182.
99. Johnie Scot.
P. 379. =A.= Considering that Sir Walter Scott professes to have
derived some variations from recitation in the south of Scotland (see
the note, IV, 387), the copy in “Scottish Songs” may be fully collated,
small as will be the value of the result.
‘John the Little Scott,’ fol. 24.
1
John the Scot was as brave a knight
As ever shook a speir,
And he is up to fair England,
The king’s braid banner to bear.
2
And while he was in fair England,
Sae fair his hap did prove
That of the king’s ae daughter dear
He wan the heart and love.
3
But word is gane to the English king,
And an angry man was he,
And he has sworn by salt and bread
They should it dear abye.
* * * * *
4 _wanting._
5^1. Then Johny’s gane.
5^{2,4}. I wot.
5^3. the English.
6^{3,4}.
To hear some news from his true love,
Least she had sufferd wrang.
7^2. That will win hose and shoon.
7^3. will gang into.
8^1. Then up there.
9 _wanting._
10^3. to grass growing.
11^1. And when: to the king’s castle.
11^3. saw that fair ladye.
12^2, 13^2. ain sel.
12^4. And speer na your father’s.
13^1. Here take.
13^3. to feir Scotland.
13^4. Your true love waits.
14^1. The ladie turned her round about.
14^4. Unless.
15^2. In prison pinching cold.
15^3. My garters are of.
15^4. the silk and gold.
16^3. And hie thee back to yon Scottish knight.
17^1. quickly sped.
18^1. He told him then that ladie’s words.
18^2. He told him.
18^{3,4}.
But ere the tale was half said out
Sae loudly to horse he did ca.
19^4. That should have been my bride.
20^1. And spak his mither dear.
20^3. For gin you’re taen.
20^4. ye’ll.
21^1. and spak.
21^2. And Johny’s true.
21^4. And his surety I will.
22.
Then when they cam to English ground
They gard the mass be sung,
And the firsten town that they cam to
They gard the bells be rung.
23^1. And the nextin: cam to.
23^4. Were.
24^1. And when: the high castle.
24^2. rode.
25^3. Or is it.
26^1. I’m not.
26^2. James our.
26^3. But Johny Scot, the little Scot.
27^1. is thy name.
27^3. eer.
28^1. and spak the gallant.
28^3. hundred.
28^4. That will die or.
29^1. and spak.
29^2. And sae scornfully leugh he.
29^3. my bower.
30^1. boon, said the little Scot.
30^2. Bring forth your.
30^3. falls.
30^4. I hae.
31
Out then cam that Italian knight,
A griesly sight to see;
Between his een there was a span,
Between his shoulders three and three.
And forth then came brave John the Scot,
He scarcely reachd his knee,
Yet on the point of Johny’s brand
The Italian knight did die.
32
And syne has he waved his bludie glaive,
And slait it on the plain;
‘Are there any more Italian dogs
That you wish to be slain?’
33
‘A clerk, a clerk,’ the king he cried,
‘To register this deed;’
‘A priest, a priest,’ Pitnochtan cried,
‘To marry us wi speed.’
34 _wanting._
384. A copy of =D= was sent by Motherwell to C. K. Sharpe with a letter
of December 6, 1824, in which many of the variations of =b= were
introduced into =a=.
101. Willie o Douglas Dale.
P. 407. =A.= Collated with the copy in the Abbotsford MS. “Scottish
Songs,” as to which see the note at IV, 387.@
‘Willie of Douglas-dale,’ fol. 16.
1^1, was a gallant squire.
2^1. the English court.
2^3. When.
2^4. But her he neer could.
3^1. once.
3^2. the _wanting_.
3^4. By the _ae_.
4^1. louted low.
4^2. His cap low in his.
4^3. I greet ye well, ye gentle knight.
4^4. your cap.
5^1. knight, fair dame.
5^2. Nor eer can hope.
5^3. am but a humble squire.
5^4. That serves.
6^1. Gae.
6^2. baith night.
6^3. tempting _written before_ face _and struck out_.
6^4. ever I.
7 _wanting._
8^2. He watchd that ladye’s.
8^3. passd the twa between.
9^1. O narrow is my gown, Willy.
9^3. And short are my petticoats.
9^4. sae wide.
9^6. is laid.
10^1. gin my father get wit.
10^2. never eat.
10^{3,5}. get wit.
10^4. gae.
10^6. Ah, Willy, you’ll.
11^1. O gin ye’ll.
11^2. gang.
11^3. into.
12 _wanting._
14^1. day was come.
14^2. den.
14^3. That gentle ladye.
14^4. While the.
15^{3,4}, Or lack ye ony tender love
That may assuage your pain.
16^1. wan na.
16^2. for my.
16^3. And alas, alas.
17^1. He’s felld the thorn in.
17^2. And blawn it to a flame.
17^3. He’s strewd it.
17^4. To cheer that lovely dame.
18^1. He’s: in gude.
18^2. And laid the fair ladye.
18^3. he’s happed her oer wi withered.
18^4. his coat and goun.
19 _wanting._
20^1. branch red.
20^2. grew in gude grene wood.
20^3. And brought her a draught.
20^4. I wot they did her good.
21-23 _wanting._
24^1. to shoot.
24^2. has he _wanting_.
25 (_after_ 30).
26^{1,2}.
Syne has he sought the forest through,
Sum woman’s help to gain.
26^3. he came to a bonny.
27^1. O will ye leave the sheep, he says.
27^2. And come.
27^3. ye.
27^4. give.
28^2. She fell down.
28^3. fair dame.
28^4. For a.
29^2. but _wanting_.
29^3. ye: flocks.
29^4. And gang to fair.
30^3. for you.
30^4. marry _wanting_: Scottish man.
_After_ 30 (see 25):
O taen has she the bonny knave-boy
And washd him in the milke,
And she has tended the sick lady,
And rowd her in the silk.
31^1. maid.
31^3. took to fair.
32^1. an _wanting_.
32^3. they gat safe.
32^4. Himself was lord therein.
411. From “The Old Lady’s Collection,” No 33, ‘Willie of Duglass
Daill.’ The Dame Oliphant of the other versions is somewhat disguised
in the old lady’s writing as Demelefond, Demelofen, etc.
D
1
Willie was a rich man’s son,
A rich man’s son was he;
Hee thought his father lake to sair,
An his mother of mine digree,
An he is on to our English court,
To serve for meatt an fee.
2
He hadno ben in our king’s court
A tuall-month an a day,
Till he fell in love we Mary, Dem [Ele]fon,
An a great buity was she.
3
He hadno ben in our king’s court
A tuall-month an a houre,
Till he dreamed a lady of buty bright
Gave him a rosey flour.
4
The lady touk her mantell her about,
Her gooun-teall in her hand,
An she is on to gued grean woud,
As fast as she could gang.
5
. . . . . . . .
. . . . . . . .
An ther she spayed a gellant knight,
Kamen his yallou hear.
6
‘What is yer name, sir knight?
For a knight I am sure ye be;’
‘I am called Willie of Duglas Dall,
Did ye never hear of me?’
‘If ye be Willie of Duglass Daill,
I afft have heard of thee.’
7
‘What is yer name, ye lovely dame?
For a lady I trou ye be;’
‘I am called Mary, Dem Elefond,
Did ye never hear of me?’
8
‘In ye be Mary, Dem Elefon,
As I trust well ye be,
. . . . . . .
My heart ye haa ye we.’
9
The lady was fair an rear,
The knight’s heart had she;
The knight was tall an straght withall,
The lady’s hart had he.
10
It fell ance upon a day
Dem Elofen thought lang,
An she is on to Willie’s bour,
As fast as she could gang.
11
‘Narrou is my pettecot, Willie,
It ance was saa wide,
An narrou is my stays, Willie,
Att ance wer saa wide,
An paill is my chikes, Willie,
An laigh, laigh is my pride.
12
‘. . . . . . . .
. . . . . . . .
An the knights of my father’s court gat word of this,
I feer they wad gare ye diee.’
13
He touke . . . . . . . . .
The lady by the hand,
An they are one to gued green woud,
As fast as they coud gang.
14
It fell ance upon a day
Strong travileng came her tell,
. . . . . . .
. . . . . . .
15
‘Ye take your boue on yer shoulder,
Yer arrous in yer hand,
An ye gaa farr throu green woud,
An shout some veneson.
16
‘Fan ye hear me loud cray,
Bide far awaa fra me,
Bat fan ye hear me laying still
Ye may come back an see.’
17
Fan he hard her loud cray,
He bad far awaa,
Bat fan he heard her laying still
He did come an see,
An he got her
An her young son her wee.
18
He milked the goats,
An feed his young son wee,
And he made a fire of the oken speals,
An warmed his lady wee.
19
It fell ance upon a day
The lady though[t] lang:
‘An ye haa any place in fair Scotland, Willie,
I wiss ye wad haa me hame.’
20
‘. . . . . . .
I ha lands an reants saa friee,
The bonny lands of Duglass Daill,
They a’ lay bread an friee.’
21
He’s taen the knight-bairn in his arms,
His lady by the hand,
An he is out throu gued green woud,
As fast as they coud gang.
22
. . . . . . . .
. . . . . . . .
Till they came to a maid kepping her goats,
. . . . . . . .
23
‘Hallë, ye maid,
For a maid ye seem to be;
Will ye live your goats kepping
An goo we me?
24
‘I cannot live my father, I canno live my midder,
Nor yet my brethren three;
I cannot live my goats kepping,
An goo along we the.
25
‘Fatt is your name, ye lovely dame?
For a lady I am shour ye be;’
‘I am called Mary, Dem Elifond,
Did ye never hear of me?’
26
‘If ye be Mary, Dem Elifond,
As I trust well ye be,
I will live my goats kepping
An goo along we the.
27
‘For I will live my father, an I will live my mother,
An my brothers three,
An I will live my goats,
An go along we thee.’
28
The maid touke the knight-bairn in her ar[m]s,
An his lady took he,
An they are to gued ship-bourd,
And took God to be ther foresteed, an didne fear to droun.
29
An they landed att Duglas Dalle,
Far the lands was braid an frie,
An the knight-bairn was Black Sir James of Duglas Dall,
An a gallant knight was hee.
* * * * *
_Written, like all the other pieces in the collection, without
division into stanzas or verses._
2^3. Demefon; _contracted at the edge_.
9^3. was tell.
11^2. _Read_ side?
14^2. _Perhaps_ her tee.
105. The Bailiff’s Daughter of Islington.
P. 426 f. Of the Italian ballad there are many more versions, but it
is needless to cite them. Add for =Spanish=: ‘La Ausencia,’ Pidal,
Asturian Romances, Nos 31, 32, p. 152 f.
107. Will Stewart and John.
P. 433 b, 2d paragraph. Beating of daughters.
Elizabeth Paston, a marriageable woman, was “betyn onys in the weke, or
twyes, and som tyme twyes on a day, and hir hed broken in to or thre
places.” (1449.) Paston Letters, ed. Gairdner, I, 90.
110. The Knight and the Shepherd’s Daughter.
P. 457, IV, 492. From “The Old Lady’s Collection,” No 34, ‘Earl
Richerd,’==Skene, =M=.
N
1
Ther was a sheperd’s daughter
Keeped hogs upon yon hill,
An by came [t]her a gentell knight,
An he wad haa his will.
2
Fan his will
Of her he had taiin,
‘Kind sir, for your curtisy,
Will ye tell me yer name?’
3
‘Some they caa me Joke,
An some caa me John,
Bat fan I am in our king’s court
Hichkoke is my name.’
4
The lady being well book-read
She spealled it our agen:
‘Hichkoke in Latin
Is Earl Richerd att heam.’
5
He patt his liag out-our his stead
An to the gate has gain;
She kilted up her green clathing
An fast folloued she.
6
‘Turn back, ye carl’s dother,
An dinnë follou me;
It setts no carl’s dothers
King’s courts to see.’
7
‘Perhaps I am a carle’s dother,
Perhaps I am nean,
Bat fan ye gat me in free forest
Ye sud haa latten alean.’
8
Fan they came to yon wan water
That a’ man cas Glide,
He luked our his left shoulder,
Says, Fair maid, will ye ride?
9
‘I learned it in my mother’s bour,
I watt I learned it well,
Fan I came to wan water
To soum as dos the eall.
10
‘I learned it in my mother’s bour,
I wiss I had learned it better,
Fan I came to wan watter
To sume as dos the otter.’
11
She touk a golden comb,
Combed out her yallou hear,
. . . . . . .
. . . . . . .
12
‘Far gatt ye that, ye carl’s dother,
I pray ye tell to me;’
‘I gatt it fra my mither,’ she says,
‘To begulle sick sparks as ye.’
13
‘Gin ye be a carl’s gett,
As I trou well ye be,
Far gatt ye a’ that fine clothing,
To cloath yer body we?’
14
‘My mother was an ill woman,
An ill woman was she,
An she gatt a’ that fine clathing,
Frae sick chaps as ye.’
15
Fan they came to our king’s court,
She fell lou doun on her knee:
‘Win up, ye fair may,
What may ye want we me?’
‘Ther is a knight in your court
This day has robbed me.’
16
‘Has he robbed you of your goud?
Or of your whit monie?
Or of your meadnhead,
The flour of your body?’
17
‘He has no robbed me of my goud,
Nor yet of my fiee,
Bat he has robed me of my madinhead,
The flour of my body.’
18
‘Wad ye keen the knight,
If ye did him see?’
‘I wad keen him well by his well-fared face
An the blieth blink of his eay.’
An sighan says the king,
I wiss it binë my brother Richie!
19
The king called on his merry men a’,
By an, by tua, by three;
Earl Richerd had ay ben the first,
Bat the last man was he.
20
By that ye might a well kent
The gulty man was he;
She took him by the hand,
Says, That same is hee.
21
Ther was a brand laid doun to her,
A brand batt an a ring,
Three times she minted to the brand,
Bat she took up the ring;
A’that was in the court
’S counted her a wise woman.
22
‘I will gee ye five hundred pound,
To make yer marrage we,
An ye gie hame, ye carl’s dother,
An fash na mare we me.’
23
‘Ye keep yer five hundred pound,
To make yer marreg we,
For I will ha nathing bat yer sell,
The king he promised me.’
24
‘I ill gee ye a thousand poun,
To make yer marrage we,
An ye gae hame, ye carl’s gett,
An fash na mare we me.’
25
‘Ye keep yer thousand pound,
To make yer marreg we,
For I ill ha nathing batt yer sell,
The king he promised me.’
26
He toke her doun
An clothed her in green;
Fan she cam up,
She was fairer then the quin.
27
Fan they gaid to Mary Kirk,
The nettels grue by dike:
‘O gin my midder war hear,
Sai clean as she wad them peak!’
28
He drue his hat out-our his eayn,
The tear blinded his eay;
She drue back her yallou loaks,
An a light laughter luke she.
29
Fan she came by yon mill-toun,
. . . . . .
‘O well may the mill goo,
An well matt she be!
For aften ha ye filled my poke
We the whit meall an the gray.’
30
‘I wiss I had druken the water
Fan I drank the aill,
Or any carl’s dother
Suld ha tald me siken a teall.’
31
‘Perhaps I am a carl’s dother,
Perhaps I am nean;
Fan ye gatt me in frie forest,
Ye sud ha latten alean.
* * * * * * *
32
‘Take awa yer silver spons,
Far awa fra me,
An ye gee me t[he] ram-horn [s]pons,
Them I am best used we.
33
‘Ye take awa yer tabel-cloths,
Far awa fra me,
An ye gee me a mukell dish
I am best used we.
34
‘For if I had my mukel dish hear,
An sayn an it war fou,
I wad sup till I war sared,
An sayn lay doun my head an slep like ony sou.
35
‘Ye take away yer hollan shits,
Far awa fra me,
An ye bring me a cannas,
It’s the thing I ben eased we.’
36
Fan bells wer rung, an mess was sung,
An a’ man boun to bed,
Earl Richerd an the carl’s dother
In a bed [were laid].
37
‘Lay yond, lay yond, ye carl’s dother,
Your hot skin . . me;
It setts na carl’s dothers
In earls’ beds to be.’
38
‘Perhaps I am a carl’s dother,
Perhaps I am nean;
Bat fan ye gat me in free forest
Ye might a latten alean.’
39
Up starts the Bellie Blind,
Att ther bed-head:
‘I think it is a meatt marrage
Betuen the ane an the eather,
The Earl of Heartfourds ae daughter
An the Quien of England’s brother.’
40
‘If this be the Earl of Heartfourd’s ae doughter,
As I trust well it be,
Mony a gued hors have I redden
For the love of the.’
* * * * *
2^2. ha had.
8^2. cas es: _perhaps_ caes _was meant_.
9^4. to eull.
18^5. sigh an.
21^3. courts.
32^3. t _with an imperfect letter, for_ the.
37^2. _Perhaps_ we.
39^5, 40^1. _The_ t _is not crossed in_ Heartfourd, _and_ Hearlfourd
_may be meant_.
O
Kidson’s Traditional Tunes, p. 20, from Mr Benjamin Holgate, Leeds.
1
There was a shepherd’s daughter
Who kept sheep on yon hill;
There came a young man riding by,
Who swore he’d have his will.
Fol lol lay
Fol lol di diddle lol di day
* * * * *
2^{1,2}.
He took her by the lilly-white hand
And by her silken sleeve,
3^4.
Or tell to me your name.
4
‘Oh, some they call me Jack, sweetheart,
And some they call me Will,
But when I ride the king’s high-gate
My name is Sweet William.’
4^4. But name.
P
Findlay’s MSS, I, 208, from Mr McKenzie, Advie, Morayshire.
1
‘T is said a shepherd’s ae daughter
Kept sheep upon a hill,
An by there cam a courteous knight,
An he wad hae his will.
2
He’s taen her by the milk-white hand
An by the grass-green sleeve,
He’s laid her doon at the fit o a bush,
An neer ance speired her leave.
112. The Baffled Knight.
P. 480 a, 4th paragraph. ‘The Politick Maid’ was entered to Thomas
Lambert, 16th May, 1637: Arber, Stationers’ Registers, IV, 385.
481 b, III, 518 a, IV, 495 a. Tears. ‘Chasseur, mon beau chasseur,’
Pineau, Le Folk-Lore du Poitou, p. 251.
Varieties. ‘La jolie Couturière,’ Pineau, p. 285.
483 b. ‘La jolie Batelière,’ Romania, XIII, 410; La Tradition, VII, 110.
VOL. III.
117. A Gest of Robyn Hode.
P. 40 b. References to Robin Hood in the 15th century.
And many men speken of Robyn Hood
And shotte nevere in his bowe.
Reply of Friar Dow Topias, in Wright’s Poetical Poems and Songs
relating to English History, II, 59, dated by Wright 1401, which may be
rather too early. The proverbial phrase shows that Robin Hood had long
been familiar to the English People.
120. Robin Hood’s Death.
P. 103 a, note *. ‘Give me my God’ is not perhaps too bold a
suggestion. We have ‘yeve me my savyour’ in the Romance of the Rose,
Morris, v. 6436, translating ‘le cors nostre seigneur.’
132. The Bold Pedlar and Robin Hood.
P. 155. The following copy, entitled ‘Robin Hood and the Proud Pedlar,’
is from a garland in a collection of folio sheet-ballads mostly dated
1775, in the British Museum, 1346. m. 7(9). The Museum catalogue
assigns the ballads to Edinburgh. I owe my knowledge of this piece to
Mr P. Z. Round.
1
There was a proud pedlar, a fine pedlar,
a proud pedlar he seemd to be,
And he’s taen his pack upon his back,
and went linking over the lee.
2
Where he met two troublesome men,
troublesome men they seemd to be,
The one of them was Robin Hood,
the other Little John so free.
3
‘O what is that into thy pack?
thou pedlar proud now tell to me;’
‘There’s seven suits of good green silk,
and bow-strings either two or three.’
4
‘If there’s seven suits of good green silk,
and silken bow-strings two or three,
Then be my sooth,’ says Little John,
‘there’s some of them must fall to me.’
5
Then he’s taen his pack off his back,
and laid it low down by his knee:
‘Where’s the man fit to drive me frae’t?
then pack and all to him I’ll gie.’
6
Then Little John pulld out his sword,
the pedler he pulld out his brand,
They swapped swords till they did sweat;
‘O pedlar fine, now hold thy hand!’
7
‘O fy! O fy!’ said Robin Hood,
‘O fy! O fy! that must not be,
For I’ve seen a man in greater strait
than to pay him and pedlars three.’
8
‘Then try him, try him, master,’ he said,
‘O try him now, master,’ said he,
‘For by me sooth,’ said Little John,
‘master, ’tis neither you nor me.’
9
Bold Robin pulld out his sword,
the pedlar he pulld out his brand,
They swapped swords till they did sweat;
‘O pedlar fine, now hold thy hand!
10
‘O what’s thy name,’ says Robin Hood,
‘now, pedlar fine, come tell to me;’
‘No, be my sooth, that will I not,
till I know what your names may be.’
11
‘The one of us[’s] calld Robin Hood,
the other Little John so free,
And now it lies into thy breast
whether thou’lt tell thy name to me.’
12
‘I’m Gamwell gay, of good green wood,
my fame is far beyond the sea;
For killing a man in my father’s land
my native land I was forcd to flee.’
13
‘If thou be Gamwell of the green wood,
thy fame is far beyond the sea;
And be my sooth,’ said Little John,
‘my sister’s son thou needs must be.
14
‘But what was that was on thy back?
O, cousin Gamwell, tell unto me;’
‘It is seven sarks and three gravats,
is all the kitt that I carry.’
15
They smoothd their words and sheathd their swords,
and kissd and clapt most tenderly;
To a tavern then they went to dine,
and drank about most heartily.
July, 1775.
* * * * *
Captain Delany’s Garland, containing five new songs, ... II, Robin
Hood and the Proud Pedlar.
6^2, 6^4, 9^4. padler.
152. Robin Hood and the Golden Arrow.
P. 223. Letter shot to its address on an arrow. Afanasief, Russian
Popular Tales, V, 183.
155. Sir Hugh, or, The Jew’s Daughter.
P. 233, IV, 497.
T
‘Little Sir William,’ Miss M. H. Mason’s Nursery Rhymes and Country
Songs, p. 46.
1
Easter Day was a holiday,
Of all days in the year,
And all the little schoolfellows went out to play,
Bat Sir William was not there.
2
Mamma went to the Jew’s wife’s house,
And knockëd at the ring,
Saying, Little Sir William, if you are there,
Oh, let your mother in!
3
The Jew’s wife opened the door and said,
He is not here to-day;
He is with the little schoolfellows out on the green,
Playing some pretty play.
4
Mamma went to the Boyne water,
That is so wide and deep,
Saying, Little Sir William, if you are there,
Oh, pity your mother’s weep!
5
‘How can I pity your weep, mother,
And I so long in pain?
For the little penknife sticks close in my heart,
And the Jew’s wife has me slain.
6
‘Go home, go home, my mother dear,
And prepare my winding sheet,
For tomorrow morning before eight o’clock
You with my body shall meet.
7
‘And lay my Prayer-Book at my head,
And my grammar at my feet,
That all the little schoolfellows as they pass by
May read them for my sake.’
U
Notes and Queries, Eighth Series, II, 43, July, 1842. ‘The Jew’s
Daughter,’ communicated by Mr C. W. Penny, as repeated to his brother,
the vicar of Stixwould, Lincolnshire, by one of the oldest women in
the parish. “A song sung by his nurse to a Lincolnshire gentleman, now
over sixty years of age.”
1
You toss your ball so high,
You toss your ball so low,
You toss your ball into the Jew’s garden,
Where the pretty flowers grow.
2
Out came one of the Jew’s daughters,
Dressed all in green:
‘Come hither, pretty little dear,
And fetch your ball again.’
3
She showed him a rosy-cheeked apple,
She showed him a gay gold ring,
She showed him a cherry as red as blood,
And that enticed him in.
4
She set him in a golden chair,
She gave him kisses sweet,
She threw him down a darksome well,
More than fifty feet deep.
156. Queen Eleanor’s Confession.
P. 259. =B.= Here given as it stands in “The Old Lady’s Collection,” No
6.
1
Our quin’s seek, an very seek,
She’s seek an leak to dee,
An she has sent for the friears of France,
To speak we her spedely.
2
‘Ye’ll pit on a frier’s robe,
An I’ll put one anether,
An we’ll goo to madam the Quin,
Leak frayers bath together.’
3
‘God forbid,’ sayes Earl Marchell,
‘That ever the leak sud be,
That I sud begule madam the Quin;
I wad be hangëd hei.’
4
. . . . . . . . .
. . . . . . . . .
The King suar by the croun an the septer roun
Eearl Marchell sudne dei.
5
The king pat on a frier’s rob,
Eearl Marchell on anether,
The’r on to the Quin,
Like frayers bath together.
6
‘Gin ye be the frayers of France,’ she says,
‘As I trust wiell ye be,
Bat an ye be ony eather men
Ye sall be hangëd he.’
7
The king he turned him roun,
An by his troth suare he,
‘We ha na sung masse
San we came fra the sea.’
8
‘The first sin ever I did,
An a very grat sin it was tee,
I gaa my medenhead to Earl Marchell,
Below a green-wood tree.’
9
‘That was a sin, an a very grate sin,
Bat pardoned it man be;’
‘We menement,’ said Earl Marchell,
Bat a heavë, heavë heart had he.
10
‘The nist sin ever I did,
An a grat sin it was tee,
I pusned Lady Rosomon,
An the King’s darling was she.’
11
‘That was a sin, an a grat sin,
Bat pardoned it may be;’
‘We menement,’ said King Henry,
Bat a heavë, heavë heart had he.
12
‘The nist sin I ever did,
An a grat sin it was tee,
I keepet pusin in my bosom seven year
To pusin him King Henre.’
13
‘That was a sin, an a grat sin,
Bat pardoned it may be;’
‘We menement,’ sa[i]d King Henrie,
Bat a heavë, heavë heart had he.
14
‘O see ye na yon bony boys,
As they play att the baa?
An see ye na Earl Merchal’s son?
I lee him best of all.
15
‘But see ye na King Henry’s son?
He is headed leak a bull an baked like a bore,
I leak him warst of a’:’
‘An, by my soth,’ says him King Henry,
‘I leak him best of the twa.’
16
The king he turned him roun,
Pat on the coat of goud,
The Quin turned her roun,
The king to behald.
17
‘. . . . . . . . .
. . . . . . . . .
Gin I had na sworn by the croun an the septer roun,
Eearl Marchell sud ben gared dee.’
* * * * *
_Written without division into stanzas or verses._
2^2. An ye’ll.
157. Gude Wallace.
P. 265. From C. K. Sharpe’s “first collection,” p. 18.
I
“An old song shewing how Sir Wm Wallace killed thirty Englishmen.”
This copy resembles =C=.
‘Decencey’ in 8^2 is the reciter’s rendering of the bencite
(benedicite) of =C= 6^2.
1
‘I wish I had a king,’ brave Wallace he said,
That every brave Scotsman might leave by his oun,
For between me and my sovreign leige
I think I see some ill [seed] sowen.’
2
Brave Wallace out-oer yon river he lap,
And he lighted low down on the plain,
And he came to a gay lady,
As she was at the well washing.
3
‘Some tidings, some tidings,’ brave Wallace he said,
‘Some tidings ye most tell unto me;
Now since we are met here togither on the plain,
Some tidings ye most tell unto me.’
4
‘O go ye down to yon wee ale-house,
And there is fifeteen Englishmen,
And they are seeking for good Wallace,
And him to take and him for to hang.’
5
‘I wish I had a penny in my pocket,’ he says,
‘Or although it were but a bare baubee,
And I wad away to the wee ale-house,
The fifeteen Englishmen to see.’
6
She’s put hir hand in hir left pocket,
And fifeteen shillings to him she told down:
‘If ever I live to come back this way,
The money’s be well paid agein.’
7
He louted twafauld oer a stick,
And he louted threefauld oer a tree,
And he’es gane awa to the wee ale-house,
The fifeteen Englishmen to see.
8
When he came to the wee ale-house,
He walked ben, says, Decencey be there!
The Engilish proud captain he awnsered him,
And he awnsered him with a graid domineer.
9
‘Why, where wast thou born, thou old crooked carle?
Where and of what country?’
‘I am a true Scotsman bred and born,
And an auld crooked carle, just sic as ye may see.’
10
‘I wad gee fifeteen shillings,’ the captain he said,
‘To an auld crooked carle, just sic a ane as thee,
If ye wad tell me of Willie Wallace,
For he’s the man I wad fain see.’
11
‘O hold your hand,’ brave Wallace he said,
‘And let me see if yeer coin be good;
If ye wad give fifeteen shillings more,
Ye never bade a better boad.’
12
He’s tean the captain out-oer the chaft-blade,
Till a bitt of meat he never did eat mair;
He stickit a’ the reste as the sat aroun the table,
And he left them all a spraulling there.
13
‘Get up, get up, goodwife,’ he says,
‘Get up and get me some denner in haste,
For it is now three days and nights
Since a bit of meat my mouth did taste.’
14
The denner was not well made ready,
Nor was it on the table sett,
Till other fifeteen English men
Were a’perading about the yett.
15
‘Come out, come out now, Wallace,’ they crys,
‘For this is the place ye’es sure for [to] die;’
‘I lippen not sae little to good,’ he says,
‘Although I be but ill-wordie.’
16
The goodman ran butt, the goodwife ran ben,
They put the house in such a fever!
Five of them he sticket where they stood,
And other five he smoddered in the gitter.
17
Five of them he folowd to the merry greenwood,
And these five he hangt on a grain,
And gin the morn at ten o’clock
He was wi his mirry men at Lochmaben.
* * * * *
6^2. 15.
8^2. _Perhaps we should read_ be here, _as in_ =A= 10^2, _but
other copies have_ bad ... there, _and it is likely enough that there
is a confusion of the oblique and the direct form_.
14^4. =a.=
265 b, note †. ‘Let me see if your money be good, and if it be true
and right, you’ll maybe get the downcome of Robinhood,’ from a recited
copy, in the preface to Finlay’s Scottish Ballads, I, XV.]
158. Hugh Spencer’s Feats in France.
P. 276. What is narrated of Walter in the Chronicon Novalese is
likewise told of Ogier by Alexander Neckam, De Naturis Rerum, ed. T.
Wright, p. 261 ff. (see also the note at p. lvi), in a copy of Turpin’s
Chronicle, Ward, Catalogue of Romances, I, 579 f., and (excepting
the monastery) in La Chevalerie Ogier, ed. Barrois, v. 10390 ff.; of
Heimir, Saga Ðiðriks af Bern, c. 429 ff., Unger, p. 361 ff.; and in
part in the ballad of ‘Svend Felding,’ Grundtvig, No 31, I, 398. See
Grundtvig’s preface to No 15, I, 216 ff.; Ward, as above; Voretzsch,
Ueber die Sage von Ogier dem Dänen, p. 113 ff.
161. The Battle of Otterburn.
P. 289, IV, 499. From C. K. Sharpe’s “first collection,” p. 21.
Tradition in this copy, as in Herd’s, =B=, ascribes the death of
Douglas to an offended and treacherous page.
1
It was about the Lammes time,
When moorland men do win their hay,
Brave Earl Douglass, in armer bright,
Marchd to the Border without delay.
2
He hes tean wi him the Lindseys light,
And sae hes he the Gordons gay,
And the Earl of Fife, without all strife,
And Sir Heugh Montgomery upon a day.
3
The hae brunt Northumberland,
And sae have [the] Northumbershire,
And fair Cluddendale they hae brunt it hale,
And he’s left it all in fire fair.
4
Ay till the came to Earl Percy’s castle,
Earl Percey’s castle that stands sae high:
‘Come dowen, come dowen, thou proud Percey,
Come down and talk one hour with me.
5
‘Come down, come down, thou proud Percey,
Come down and talk one hour with me;
For I hae burnt thy heritage,
And sae will I thy building high.’
6
‘If ye hae brunt my heritage,
O dule, O dule, and woe is me!
But will ye stay at the Otter burn
Untill I gather my men to me?’
7
‘O I will stay at the Otter burn
The space of days two or three,
And if ye do not meet me there,
I will talk of thy coardie.’
8
O he hes staid at the Otter burn
The space of days two or three;
He sent his page unto his tent-door,
For to see what ferleys he could see.
9
‘O yonder comes yon gallent knight,
With all bonny banners high;
It wad do ony living good
For to see the bonny coulers fly.’
10
‘If the tale be true,’ Earl Douglass says,
‘The tidings ye have told to me,
The fairest maid in Otterburn
Thy bedfellow sure shall she be.
11
‘If the tale be false,’ Earl Douglass says,
‘The tidings that ye tell to me,
The highest tree in Otterburn,
On it high hangëd shall ye be.’
12
Earl Douglass went to his tent-door,
To see what ferleys he could see;
His little page came him behind,
And ran him through the fair body.
13
‘If I had a little time,’ he says,
‘To set in order my matters high,
Ye Gordons gay, to you I say,
See that ye let not my men away.
14
‘Ye Linseys light, both wise and wight,
Be sure ye carry my coulers high;
Ye Gordons gay, again I say,
See that ye let not my men away.
15
‘Sir Heugh Montgomery, my sistir’s son,
I give you the vangaurd over all;
Let it neer be said into old England
That so little made a true Scot fall.
16
‘O lay me dowen by yon brecken-bush,
That grows upon yon liley lea;
Let it neer be said into old England
That so little made a true Scot die.’
17
At last those two stout knights did meet,
And O but they were wonderous keen!
The foght with sowards of the temperd steel,
Till the drops of blood ran them betwen.
18
‘O yeald thee, Percie,’ Montgomery crys,
‘O yeald ye, or I’ll lay the low;’
‘To whome should I yeald? to whom should I yeald?
To whom should I yeald, since it most be so?’
19
‘O yeald ye to yon breckan-bush,
That grows upon yon lilley lea;
And if ye will not yeald to this,
In truth, Earl Percey, I’ll gar ye die.’
20
‘I will not yeald to a breckan-bush,
Nor yet will I yeald to a brier;
But fain wad I yeald to Earl Douglass,
Or Sir Heugh Montgomery, if he were here.’
21
O then this lord begun to faint,
And let his soward drop to the ground;
Sir Heugh Montgomery, a courtious knight,
He bravely took him by the hand.
22
This deed was done at the Otter burn,
Betwen the sunshine and the day;
Brave Earl Douglass there was slain,
And they carried Percie captive away.
* * * * *
6^3, 7^1, 8^1, 22^1. Otterburn.
292 b, 2d paragraph, 9th line. =C= 20^{3,4} may have been supplied by
Scott; not in Hogg’s copy. See IV, 500, st. 21.
294, 520 a, IV, 499. St George, Our Lady’s Knight.
O seynt George, oure lady knyght,
To that lady thow pray for me!
Lydgate, Kalendare, vv. 113, 114, ed. Horstmann, in Herrig’s Archiv,
LXXX, 121.
O blessyd Lady, Cristes moder dere,
And thou Seynt George, that called art her knyght!
Fabyan’s Chronicles, ed. Ellis, 1811, p. 601. (G. L. K.)
162. The Hunting of the Cheviot.
P. 306, IV, 502. Fighting on stumps. Agolafre, fighting on his
knees after his legs were broken, ‘had wyþ ys axe a-slawe an hep of
frenschemen:’ Sir Ferumbras, v. 4603 ff., ed. Herrtage, The English
Charlemagne Romances, I, 143. (The French text does not represent him
as fighting on his knees: Fierabras, ed. Kroeber and Servois, 1860, v.
4878 ff., p. 147.) (G. L. K.)
163. The Battle of Harlaw.
P. 317 a, 2d paragraph. Of course Sir James the Rose and Sir John the
Gryme came in from the ballad of ‘Sir James the Rose.’
164. King Henry Fifth’s Conquest of France.
P. 323. There is a copy (‘The Battle of Agincourt’) in C. K. Sharpe’s
“first collection,” p. 29, from which some variations may be given.
n. 2^4. And bring home the tribute that’s due to me.
4^{1-3}.
My master the king salutes thee well,
Salutes thee well, most graciously;
You must go send, etc.
5^{2-4}.
And darna come to my degree;
Go bid him play with his tenish balls,
For in French lands he dare no me see.
7^{3,4}.
Such tidings from the king of France
As I’m sure with him you can ner agree.
8^3. He bids you play with these tenish balls.
10^4. They were a jovial good company.
_After_ 10: He counted oer his merry men, Told them by thirty and by
three, And when the were all numberd oer He had thirty thousand brave
and three.
12 The first that fird, it was the French, Upon our English men so
free, But we made ten thousand of them fall, And the rest were forc’d
for there lives to flee.
13^1. Soon we entered Paris gates.
13^2. trumpets sounding high.
13^4. Have mercy on [my] men and me.
14^{1,2}.
Take home your tribute, the king he says,
And three tons of gold I will give to thee.
There is also a copy in “The Old Lady’s Collection,” No 7, but it is
not worth collating.
167. Sir Andrew Barton.
P. 338 b, IV, 502 b. Gold to bury body. Apollonius of Tyre. So in
Gower, Confessio Amantis, bk. viii, ed. Pauli, III, 312; in the English
prose Kynge Apollyn of Thyre, Wynkyn de Worde, 1510, c. 19, fol. 48, of
Ashbee’s fac-simile, 1870; in the German prose Appollonius Tyrus and
Appolonius von Tiria, C. Schröder, Griseldis, Apollonius von Tyrus, aus
Handschriften herausg., pp. 46, 110, Leipzig, 1873. (G. L. K.)
170. The Death of Queen Jane.
P. 372. Communicated by Rev. S. Baring-Gould, as recited by Samuel
Force.
H
1
Queen Jane, O! Queen Jane, O! what a lady was she!
And six weeks and a day in labour was she;
Queen Jane was in labour for six weeks and more,
Till the women grew weary and fain would give oer.
2
‘O women, O women, good wives as ye be,
Go send for King Henry and bring him to me.’
King Henry was sent for, and to her he came:
‘Dear lady, fair lady, your eyes they look dim.’
3
King Henry came to her, he came in all speed,
In a gown of red velvet, from the heel to the head:
‘King Henry, King Henry, if kind you will be,
Send for a good doctor, and let him come to me.’
4
The doctor was sent for, he came with all speed,
In a gown of black velvet from the heel to the head;
The doctor was sent for and to her he came:
‘Dear lady, fair lady, your labour’s in vain.’
5
‘Dear doctor, dear doctor, will you do this for me?
O open my right side, and save my baby:’
Then out spake King Henry, That never can be,
I’d rather lose the branches than the top of the tree.
6
The doctor gave a caudle, the death-sleep slept she,
Then her right side was opened and the babe was set free;
The babe it was christened, and put out and nursd,
But the royal Queen Jane lay cold in the dust.
I
Macmath MS., p. 99. Received November, 1892, from the recitation
of Mary Cochrane (Mrs Joseph Garmory), Abbey-yard, Crossmichael,
Kirkcudbrightshire. Written down by her husband.
1
Queen Jeanie was in labor for seven weeks in summer,
The women all being tired and quite gave her over:
‘O women, dear women, if women you be,
Send for my mother to come and see me.’
2
Her mother was sent for and instantly came,
Knelt down at the bedside where Queen Jeanie lay on:
‘O mother, dear mother, if mother you be,
Send for my father to come and see me.’
3
The father was sent for and instantly came,
Knelt down by the bedside where Queen Jeanie lay on:
‘O father, dear father, if father you be,
Send for King Henry to come and see me.’
4
King Henry was sent for and instantly came,
Knelt down by the bedside where Queen Jeanie lay on:
‘O Henry, King Henry, if Henry you be,
Send for the doctor to come and see me.’
5
The doctor was sent for and instantly came,
Knelt down by the bedside where Queen Jeanie lay on:
‘O doctor, dear doctor, if doctor you be,
Open my left side and let the babe free.’
6
Her left side was opened, the young prince was found:
‘O doctor, dear doctor, lay me down on the ground.’
7
Her bones were all broken and laid at her feet,
And they anointed her body with the ointment so sweet,
And ay as they weeped they wrung their hands sore,
For the fair flower of England will flourish no more.
173. Mary Hamilton.
P. 379. Stanzas 1, 2, 10 of =C= are printed in Motherwell’s Minstrelsy,
p. 315, and 4, 9 of =L= at p. 316.
380 a, line 13. Say Stewart, or stewart.
384. =A= =a=. Found in a small MS. volume, with the title “Songs”
on the cover, entirely in Sharpe’s handwriting, p. 29. The only
variations, besides a few in spelling, are these:
9^1. stairs.
17^3. the night’s.
18^2. they’l.
389. =F.= This version was rendered by Skene with comparative fidelity.
Still, the original, ‘Quin Mary’s Marreys,’ No 12 of “The Old Lady’s
Collection,” would of course have been given if it had been in hand,
and should be substituted, opportunity occurring. It is therefore
printed here.
1
‘My father was the Duck of York,
My mother a lady frie,
My sell a dainnty damisall,
Quin Mary sent for me.
2
‘The quin’s meat it was so suit,
An her clething was sae rair,
It made me lang for Suit Willie’s bed,
An I ill rue it ever mare.
3
‘Mary Beeten, an Mary Sitton,
An Lady Livenston, a’ three,
We’ll never mett in Quin Mary’s bour nou,
Marrys tho we be.’
4
Quin Mary satt in her bour,
Suing her selver seam;
She thought she hard a baby greet
Bat an a lady mean.
5
She throu her neddel frae her,
Her seam out of her han,
An she is on to Lady Marry’s bour,
As fast as she could gang.
6
‘Open yer dor, Lady Mary,’ she says,
‘An lat me come in;
For I hear a baby greet,
Bat an a lady meen.’
7
‘Ther is nae bab in my bour, madam the Quin,
Nor never thinks to be,
Bat the strong pains of gravell
This night has sesed me.’
8
She paat her fitt to the dor,
Bat an her knee,
Bolts of brass an irn bands
In flinders she gart flee.
9
She pat a han to her bed-head
A nether to her bed-feet,
An bonny was the bab
Was blabring in its bleed.
10
‘Wae worth ye, Lady Mary,
An ill dead sall ye die!
For in ye widne keepet the bonny bab
Ye might ha gen ’t to me.’
11
‘Lay na the witt on me, madam,
Lay na the witt on me,
For my fals love bare the v[e]pan att his side
That gared my bern dee.’
12
‘Gett up, Lady Betton, get up, Lady Setton,
An Lady Livenston, three,
An we will on to Edenbrugh
An tray this gay lady.’
13
As she cam in the Cannogate,
The burgers’ wives they crayed hon, ochon, ochree!
14
‘O had yer still, ye burgers’ wives,
An make na mane for me;
Seek never grace out of a graslass face,
For they ha nan to gee.
15
‘Ye merchants an ye mareners,
That trad on the sea,
Ye dinnë tell in my country
The dead I am gaine to dee.
16
‘Ye merchants an ye mareners,
That traid on the fame,
Dinnë tell in my countray
Bat fatt I am coming hame.
17
‘Littel did my father think,
Fan he brouch[t] me our the sea,
That he woud see my yallou lokes
Hang on a gallou-tree.
18
‘Littel did my midder think,
Fan she brought me fra hame,
That she maugt see my yallou lokes
Hang on a gallou-pine.
19
‘. . . . . .
O had yer han a wee!
For yonder comes my father,
I am sure he’ll borrou me.
20
‘O some of yer goud, father,
An of yer well won fee,
To safe me [fra the high hill],
[An] fra the gallage-tree.’
21
‘Ye’s gett nane of my goud,
Ner of my well wone fee,
For I wead gee five hundred poun
To see ye hanged hee.’
22
‘. . . . .
O had yer han a wee!
Yonder is my love Willie,
He will borrou me.
23
‘O some of yer goud, my love Wille,
An some of yer well wone fee,
To save me fraa the high hill,
An fraie the gallou-tree.’
24
‘Ye’s gett a’ my goud,
An a’ my well won fee,
To save ye fra the heading-hill,
An fra the galla-tree.’
* * * * *
4^2. _Perhaps_ silver.
6^3. lady greet: _cf._ 4^3.
7^1. næ.
11^2. watt.
11^3. vpan?
23^1. son Willë.
392 a, =H= 8^4. The nine. “Anciently the supreme criminal court
of Scotland was composed of nine members.” Kinloch’s note, Ancient
Scottish Ballads, p. 259. This may afford a date.
=I. b.= The three stanzas were given as written down from memory by
Finlay: see VIII, 507 b.
174. Earl Bothwell.
The following entry in the Stationers’ Registers may refer to this
ballad: “24 March, 1579, Thomas Gosson. Receaved of him for a ballad
concerninge the murder of the late Kinge of Scottes.” Arber, II, 349.
178. Captain Car, or, Edom o Gordon.
P. 423, IV, 513.
I
From “The Old Lady’s Collection,” No 28, ‘Edom of Achendoon.’
1
It fell about the Martimas time,
Fan the wind blue loud an calld,
Said Edom of Gordon to his men,
We man dra till a hall.
2
‘An fatten a hall will we dra tell,
My merry men a’ an me?
We will to the house of Rothes,
An see that gay lady.’
3
The lady louked our castell-wa,
Beheld the day ga doun,
An she saa Edun of Gordon,
Fase Edom of Ach[en]doun.
4
‘Gee our yer house, ye gay lady,
Gee our yer house to me;
The night ye’s be my leall leman,
The morn my lady free.’
5
‘I winnë gee our my bonny house,
To leard nor yet to loun,
Nor will I gee our my bonny house
To fase Edom of Achendoun.
6
‘Bat ye gett me Cluny, Gight, or Glack,
Or get him young Lesmore,
An I ell gee our my bonny house
To ony of a’ the four.’
7
‘Ye’s nether gett Cluny, Gight, nor Glack,
Nor yet him young Lesmore,
An ye man gee our yer bonny house,
Winten ony of a’ the four.’
8
The ladie shot out of a shot-windou,
It didne hurt his head,
It only grased his knee
. . . . . .
9
‘Ye hast, my merry men a’,
Gather hathorn an fune,
. . . . . . .
To see gin this lady will burn.’
10
‘Wai worth ye, Joke, my man!
I paid ye well yer fee,
An ye tane out the quinë-stane,
Laten in the fire to me.
11
‘Wae worth ye, Joke, my man!
I paid ye well yer hair,
An ye t[a]en out the qunie-stane,
To me laten in the fire.’
12
‘Ye paid me well my meatt, lady,
Ye paid me well my fee,
Bat nou I am Edom of Gordon’s man,
Mane eather dee’d or dree.
13
‘Ye paid me well my meatt, lady,
Ye paid me well my hire,
But nou I am Edom of Gordon’s man,
To ye mane lat the fire.’
14
Out spak her doughter,
She was bath jimp an smaa;
‘Ye take me in a pair of shets,
Lat me our the castell-waa.’
15
The pat her in a pair of shets,
Lute her oure the castell-waa;
On the point of Edom of Gordon’s lance
She got a deadly faa.
16
Cherry, cherry was her cheeks,
An bonny was her eyen;
. . . . . . .
. . . . . . .
17
He turned her about,
. . . . . . .
‘I might haa spared that bonny face
To ha ben some man’s delight.
18
‘Chirry is yer chik,
An bonny is yer eayn;
Ye’r the first face I ever saa dead
I wist liveng agen.’
19
Out spak one of his men,
As he stad by a stane;
‘Lat it never be sade brave Edom of Gordon
Was dantoned by a dame.’
20
Out spake the bonny barn,
It sat on the nurce’s knee;
‘Gee our yer house, my mider dear,
The reak it smothers me.’
21
‘I wad gee a’ my silks,’ she says,
‘That lays in mony a fall,
To haa ye on the head of Mont Ganell,
To gett three gasps of the call.
22
‘I wad gee a’ my goud,’ she says,
‘Far it lays out an in,
To haa ye on the head of Mount Ganill,
To get three gasps of the wind.’
23
. . . . . . . that gued lord,
As he came fraa the sea,
‘I see the house of Rothes in fire,
God safe my gay ladie!’
* * * * *
15^3. land.
VOL. IV.
190. Jamie Telfer of the Fair Dodhead.
P. 4. I am now able to give the unprinted copy, referred to in the
Border Minstrelsy, in which the Elliots take the place assigned in the
other version to the Scotts. This I do by the assistance of Mr Macmath,
the present possessor of the manuscript, which was formerly among the
papers of Charles Kirkpatrick Sharpe. The hand “is a good and careful
one of about the beginning of this century, with a slight shake in
it, and probably that of a person advanced in life.” Be it observed
that the title, in this case, is ‘Jamie Telfer in the Fair Dodhead,’
signifying, according to Scottish usage, that Telfer was tenant simply,
whereas ‘of’ would make him proprietor.
Hogg, writing to Sir W. Scott (Letters, vol. i, No 44), says that
‘Jamie Telfer,’ as printed in the Minstrelsy, differs in many
particulars from his mother’s way of giving it. Mrs Hogg’s version may
very likely have been a third copy.
In this version, Telfer, after the loosing of his nolt and the
ranshakling of his house, runs eight miles to Branxholm, to seek aid
of Buccleugh, who refers him to Martin Elliot, to whom, and not to
himself, Buccleugh affirms, Telfer has paid blackmail. Telfer, as in
the other version, runs up the water-gate to Coultart Cleugh, and
invokes the help of Jock Grieve, who sets him on a bonny black to take
the fray to Catlock Hill, as in the other version again. Catlock Hill
Mr R. B. Armstrong considers to be probably Catlie Hill, marked in
Blaeu’s map as near Braidlie. It was occupied by an Elliot in 1541.
At Catlock Hill Martin’s Hab sets Telfer on a bonny black to take the
fray to Prickenhaugh, a place which, Mr Armstrong observes, is put in
Blaeu’s map near Larriston. Auld Martin Elliot is at Prickenhaugh,
and he orders Simmy, his son, to be summoned, and the water-side to
be warned, including the Currers and Willie o Gorrenberry, who in the
other version, st. 27, are warned as owing fealty to Scott; but an
Archibald Elliot is described as “in Gorrenberrie” in 1541,[121] and
Will Elliot of Gorrombye was concerned in the rescue of Kinmont Willie
in 1596, Sim Elliot takes the lead in the pursuit of the marauders
which Willie Scott has in the other version, and like him is killed.
Martin Elliot of Braidley had among his sons, in 1580, a Sym, an
Arche, and a Hob,[121] and was, during a portion of the second half of
the sixteenth century, says Mr Armstrong, perhaps the most important
person of his name.[122] This Martin Elliot would fit very well into
our ballad, but that he should be described as of Prickenhaugh,
not of Braidley, raises a difficulty. Braidley, at the junction of
the Braidley burn with the Hermitage water, is well placed for our
purposes; Prickenhaugh, down by the Liddel water, seems rather remote.
5, 582. See more as to Dodhead in The Saturday Review, May 20, 1893, p.
543.
Jamie Telfer in the Fair Dodhead.
1
It fell about the Martinmas,
When steads were fed wi corn and hay,
The Captain of Bewcastle said to his lads,
We’ll into Tiviotdale and seek a prey.
2
The first ae guide that they met with
Was high up in Hardhaugh swire,
The second guide that they met with
Was laigh down in Borthick water.
3
‘What tidings, what tidings, my bonny guide?’
‘Nae tidings, nae tidings I hae to thee;
But if ye’ll gae to the Fair Dodhead
Mony a cow’s calf I’ll let ye see.’
4
When they came to the Fair Dodhead,
Right hastily they clam the peel,
They loosd the nolt out, ane and a’,
And ranshakled the house right weel.
5
Now Jamie’s heart it was right sair,
The tear ay rowing in his eye;
He pled wi the Captain to hae his gear,
Or else revengëd he would be.
6
Bat the Captain turnd himsel about,
Said, Man, there’s naething in thy house
But an auld sword without a scabbard,
That scarcely now would fell a mouse.
7
The moon was up and the sun was down,
’Twas the gryming of a new-fa’n snaw;
Jamie Telfer has run eight miles barefoot
Between Dodhead and Branxholm Ha.
8
And when he came to Branxholm Ha
He shouted loud and cry’d well he,
Till up bespake then auld Buccleugh,
‘Whae’s this that brings the fray to me?’
9
‘It’s I, Jamie Telfer i the Fair Dodhead,
And a harried man I think I be;
There’s naething left i the Fair Dodhead
But only wife and children three.’
10
‘Gae seek your succour frae Martin Elliot,
For succour ye’s get nane frae me;
Gae seek your succour where ye paid blackmail,
For, man, ye never paid money to me.’
11
Jamie he’s turnd him round about,
And ay the tear blinded his eye:
‘I’se never pay mail to Scott again,
Nor the Fair Dodhead I’ll ever see.’
12
Now Jamie is up the water-gate,
Een as fast as he can drie,
Till he came to the Coultart Cleugh,
And there he shouted and cry’d weel he.
13
Then up bespake him auld Jock Grieve,
‘Whae’s this that bring[s] the fray to me?’
‘It’s I, Jamie Telfer i the Fair Dodhead,
And a harried man I think I be.
14
‘There’s naething left i the Fair Dodhead
But only wife and children three,
And sax poor calves stand i the sta,
A’ routing loud for their minnie.’
15
‘Alack, wae’s me!’ co auld Jock Grieve,
‘Alack, alack, and wae is me!
For ye was married t’ the auld sister,
And I t’ the younges[t] o the three.’
16
Then he’s taen out a bonny black,
It was weel fed wi corn and hay,
And set Jamie Telfer on his back,
To the Catlock hill to take the fray.
17
When he came to the Catlock hill,
He shouted loud and cry’d weel he;
‘Whae’s that, whae’s that?’ co Martin’s Hab,
‘Whae’s this that brings the fray to me?’
18
‘It’s I, Jamie Telfer i the Fair Dodhead,
And a harried man I think I be;
There’s neathing left i the Fair Dodhead
But only wife and children three.’
19
‘Alack, wae’s me!’ co Martin’s Hab,
‘Alack, awae, my heart is sair!
I never came bye the Fair Dodhead
That ever I faund thy basket bare.’
20
Then he’s taen out a bonny black,
It was weel fed wi corn and hay,
And set Jamie Telfer on his back
To the Pricken haugh to take the fray.
21
When he came to the Pricken haugh,
He shouted loud and cry’d weel he;
Up then bespake auld Martin Elliot,
‘Whae’s this that brings the fray to me?’
22
‘It’s I, Jamie Telfer i the Fair Dodhead,
And a harried man I think I be;
There’s naething left i the Fair Dodhead
But only wife and children three.’
23
‘Ever alack!’ can Martin say,
‘And ay my heart is sair for thee!
But fy, gar ca on Simmy my son,
And see that he come hastily.
24
‘Fy, gar warn the water-side,
Gar warn it soon and hastily;
Them that winna ride for Telfer’s kye,
Let them never look i the face o me.
25
‘Gar warn the water, braid and wide,
And warn the Currers i the shaw;
When ye come in at the Hermitage slack,
Warn doughty Willie o Gorrenberry.’
26
The gear was driven the Frostily up,
From the Frostily into the plain;
When Simmie lookëd him afore,
He saw the kye right fast driving.
27
‘Whae drives the kye,’ then Simmy can say,
‘To make an outspeckle o me?’
‘It’s I, the Captain o Bewcastle, Simmy,
I winna lain my name frae thee.’
28
‘O will ye let the gear gae back?
Or will ye do ony thing for me?’
‘I winna let the gear gae back,
Nor naething, Simmy, I’ll do for the[e].
29
‘But I’ll drive Jamie Telfer’s kye
In spite o Jamie Telfer’s teeth and thee;’
‘Then by my sooth,’ can Simmy say,
‘I’ll ware my dame’s calfskin on thee.
30
‘Fa on them, lads!’ can Simmy say,
‘Fy, fa on them cruelly!
For or they win to the Ritter ford
Mony toom saddle there shall be.’
31
But Simmy was striken oer the head,
And thro the napskape it is gane,
And Moscrop made a dolefull rage
When Simmy on the ground lay slain.
32
‘Fy, lay on them!’ co Martin Elliot,
‘Fy, lay on them cruelly!
For ere they win to the Kershop ford
Mony toom saddle there shall be.’
33
John o Biggam he was slain,
And John o Barlow, as I heard say,
And fifteen o the Captain’s men
Lay bleeding on the ground that day.
34
The Captain was shot through the head,
And also through the left ba-stane;
Tho he had livd this hundred years,
He’d neer been loed by woman again.
35
The word is gane unto his bride,
Een in the bower where she lay,
That her good lord was in ’s enemy’s land
Since into Tiviotdale he led the way.
36
‘I loord a had a winding sheed
And helpd to put it oer his head,
Or he’d been taen in ’s enemy’s lands,
Since he oer Liddle his men did lead.’
37
There was a man in our company,
And his name was Willie Wudëspurs:
‘There is a house in the Stanegarside,
If any man will ride with us.’
38
When they came to the Stanegarside,
They bangd wi trees and brake the door,
They loosd the kye out, ane and a’,
And set them furth our lads before.
39
There was an auld wif ayont the fire,
A wee bit o the Captain’s kin:
‘Whae loo[s]es out the Captain’s kye,
And sae mony o the Captain’s men wi[t]hin?’
40
‘I, Willie Wudëspurs, let out the kye,
I winna lain my name frae thee,
And I’ll loose out the Captain’s kye
In spite o the Captain’s teeth and thee.’
41
Now on they came to the Fair Dodhead,
They were a welcome sight to see,
And instead of his ain ten milk-kye
Jamie Telfer’s gotten thirty and three.
* * * * *
16^2. feel fed: _cf._ 20^2.
195. Lord Maxwell’s Last Goodnight.
P. 34 b, 525 a. =B.= The ballad has no title in the Glenriddell MS. The
table of contents was the work of a copyist.
196. The Fire of Frendraught.
P. 39 b. Thirteen stanzas of =C= are given, in the course of an article
on The Burning of the House of Frendraucht, in the Aberdeen Magazine,
1832, II, 561.
P. 44. =A a.= Collation with Sharpe’s MS. and with another copy of the
same pieces in “North Country Ballads,” Miscellanea Curiosa, Abbotsford
Library.
4^1. Well, turn.
12^5. were.
15^4. Let Rothiemay may ly, may ly. But Rothiemay lie, _written
under, probably as an emendation by Sharpe_ (_not in Scott_).
16^4. Turn _in Scott, an easy misreading of_ Twin.
26^1. Ahon. _With a few slight differences of spelling._
we _in_ 9^2 _is a misprint for_ he.
IV, 522 a. The Satyr begins:
O world of woes, O grief of griefs, to see
This damned den wher sure brave sp’rits did dye.
197. James Grant.
These verses occur in a manuscript collection of C. K. Sharpe’s
(“second collection”), with slight verbal differences. They are written
in long lines not divided into stanzas. Sir W. Scott remarks, Sharpe’s
Ballad Book, 1880, p. 145, “I conceive Ballindalloch, being admitted
by Grant, set upon him, and that there should be asterisks between the
fourth line [the second stanza] and those which follow.”
1^1. Away, away now, James the Grant.
1^2. You’ll.
1^3. For Ballendalloch is at your gate.
2^{1,4}. Badendalloch.
2^2. Nor I.
2^3. Set up my gat both.
2^4. And let.
3^1. James the.
3^4. no get so.
4^3. he get but one mile in the highland hill.
4^4. defy the.
198. Bonny John Seton.
P. 52. =A.= Found in a MS. of Charles Kirkpatrick Sharpe, and in “North
Country Ballads,” Miscellanea Curiosa, Abbotsford Library (another
copy of the same pieces), with the following variations.
Sharpe. 1^3. The Southeron lords to.
2^1. And bonny: Pitmedden, _and always_.
2^2. bald.
2^4. And the.
3^4. Sat on.
5^2. Cried, Brave soldiers.
5^5. my steed back.
5^6. But let me never see thee.
6^3. And his.
7^4. That dang Pitmedden’s middle in three.
8^{1,2}. rade.
8^3. But bonny John Seton of Pitmedden.
9^1. Then up it came a.
9^2. from Drimmorow.
9^3. Says, There thou lies.
9^4. ride thee thorow.
10^1. Craigyvar (_always_): man.
10^2. your fiddle.
10^3. land.
12^1. They’ve taken.
14^4. ring.
15^1. For cannons roars: summer’s.
15^2. Like thunder.
15^4. cannons fair.
Scott (_also_).--3^1. lands.
_None of the readings in Aytoun given in the notes at p. 53 were
derived from Sharpe’s copy except_ =A= 8^3, _and all of them may now
be dropped._
199. The Bonnie House o Airlie.
P. 56. In a small MS. volume with the title “Songs” on the cover,
entirely in Sharpe’s handwriting. =A a= is found at p. 24 (with some
variations, undoubtedly arbitrary) prefaced with these words: “This
song [referring to a copy presently to be given], like most others,
would suffer amendment: here follows a copy somewhat improved. I
have availed myself of a fragment in a former page of this work, and
introduced a stanza [9] marked *, picked up in Perthshire.” Had =A a=
been known to be an “improved” copy, it would not have been made so
prominent.
The fragment (of slight value) was “from the recitation of Miss
Oliphant of Gask, now Mrs Nairn” (afterwards Lady Nairne). It is (p.
21)--disregarding things misunderstood or avowedly added:
‘Come down, come down, my lady Ogilvie,
Come down, and tell us your dower:’
‘It’s east and west yon wan water side,
And it’s down by the banks of the Airly.
‘Had my lord Ogilvie been at hame,
As he was wi King Charlie,
There durst nae a Campbel in a’ Argyle
Avowd to the plundering o Airly.’
‘Come down, come down, ye lady fair,
Come down, and kiss me fairly:’
‘I wunna come down, ye fause Argyle,
If ye sudna leave a standing stane in Airly.
The unimproved copy, p. 22, is as follows.
1
It fell on a day, and a bonny summer day,
When corn grew green and yellow,
That there fell out a great dispute
Between Argyll and Airly.
2
Argyll has raisd an hundred men,
An hundred men, and so many,
And he is away by the back of Dunkeld
For to plunder the bonny house of Airly.
3
Lady Margaret looks oer her bower-window,
And O but she looks weary!
And there she spied the great Argyll,
Coming to plunder the bonny house of Airly.
4
‘Come down, come down, Lady Margret,’ he said,
‘Come down, and kiss me fairly:’
‘O I will not kiss the great Argyll,
If he should not leave a standing stone in Airly.’
5
He hath taken her by the left shoulder,
Says, Lady, where lyes thy dowry?
‘It’s up and it’s down by the bonny bank-side,
Amongst the planting of Airly.’
6
They have sought it up, they have sought it down,
They have sought it both late and early,
And they have found it in the bonny plumb-tree
That shines on the bowling-green of Airly.
7
He hath taken her by the middle so small,
And O but she lookd weary!
He hath laid her down by the bonny burn-side
Till he hath plunderd the bonny house of Airly.
8
‘If my good lord were at home this night,
As he is with Prince Charly,
Nouther you nor no Scottish lord
Durst have set a foot on the bowling-green of Airly.
9
‘Ten bonny sons I have born unto him,
And the eleventh neer saw his daddy;
Although I had an hundred more,
I would give them all to Prince Charly.’
* * * * *
58 c. This is one of the pieces contained in “The Old Lady’s
Collection,” No 1. The differences from Skene (save spelling) are as
follows:
3^1. ore castell-waa.
3^3. an his three hundred men.
4^{1,2}. Come doun the stare, Lady Airly, he says, an kiss me fairly.
4^4. Altho ye live no.
5^2. An tell fare layes yer.
7^2. An he leed.
10^2 (7^2). his.
10^3 (7^3). An tho.
10^4 (7^4). I wad gie them a’.
200. The Gypsy Laddie.
P. 66. =B a.= A copy of this version in C. K. Sharpe’s papers, “written
from recitation in Nithisdale, November, 1814,” shows that improvements
had been introduced by two hands, one of them Sharpe’s, neither of
them the writer’s. The changes are of no radical importance; simply
of the familiar kind which almost every editor has, for some reason,
felt himself called upon to make. It may be thought that they are no
more worth indicating than they were worth making, but it has been an
object in this book to give things exactly as they were delivered. The
original readings are as follows.
1^1. C _for_ Cassilis _throughout_.
1^3, so.
1^4. Till.
2^4. cast.
3^1. to _wanting_.
3^{2,3}, give.
3^4. rings of her fingers.
4^{1,2}. you.
4^3. hilt of.
4^4, 9^4, 16^4. no more.
6^{1,3}. Jackie.
7^3, 8^3. farmer’s barn.
8^3, 11^3. most.
8^4. crae.
9^{1,2}. O _wanting_.
10^3, 11^1, 14^3. on water.
11^1. Many a time have.
17^4. mother bore me.
18^3. And _wanting_.
73.
L
Communicated to the Journal of The Gypsy Society, II, 85, by Mr John
Sampson, from the dictation of Lias Robinson, a Gypsy. A translation
into Gypsy, by Robinson and his brothers, is given at p. 84 of the
same.
1
A band of gypsies, all in a road,
All so black and brawny, oh
Away come a lady all dressed in silk,
To follow the roving gypsies, oh
The gypsies, oh!
The gypsies, oh!
To follow the roving gypsies, oh!
2
Her husband came home at ten o’clock of night,
And asked for his lady fair;
The servant informed him very soon
She had gone with the roving gypsies.
3
‘Saddle to me my bonny gray mare,
Saddle to me my pony;
I will go where the green grass grow,
To find out the roving gypsies.
4
‘Last night she slept in a fair feather-bed,
And blankets by bonins;
Tonight she sleeps in a cold shed-barn,
Through following the roving gypsies.
5
‘Why did you leave your houses and your lands?
Why did you leave your babies?
Why did you leave your decent married man,
To follow the roving gypsies?’
6
‘What cares I for my houses and my lands?
What cares I for my babies?
What cares I for my decent married man?
I will go with the roving gypsies.’
* * * * *
1^2. _Var._ and bonny.
From a small MS. volume, “Songs,” entirely in C. K. Sharpe’s
handwriting, p. 32 (corresponding to =B= 11, =D= 6, =E= 7.)
Yestreen I rade yon wan water,
Wi my gude lord before me;
The day I maun pit down my bonnie fit and wade,
What ever may come oer me.
201. Bessy Bell and Mary Gray.
P. 76 a, 4th paragraph, 1st line. The date 1666 is corrected to 1645 by
Cant in his Errata.
77. In the small MS. volume, “Songs,” entirely in C. K. Sharpe’s
handwriting, p. 26, =a= 3 is given “from the Catalogue of the Edinburgh
Exhibition of Pictures, 1810” as here, excepting that in the second
line the reading is (absurdly) “royal kin.”
203. The Baron of Brackley.
P. 79. Fragment from Findlay MSS, I, 209, derived from Mrs McKenzie,
Advie, Morayshire.
1
‘O are ye sleepin, baul B[r]achlie, or are ye at hame?
For the caterans are at ye, an a’ your kye ’s taen.’
2
. . . . . . . .
‘Ye’ll fling your rocks, lasses, we’ll fecht them our lane.
3
‘We’ll fecht them an fleg them, an gar them rin hame,
We’ll stand them in battle, as gin we were men.
4
‘There’s four-an-twenty milk-white kine in Glentanner free,
In the parks o Glentanner sae fain’s I wad be!’
5
He’s called on his lady to give him his gun:
‘I’m gaun oot, Katie, but I’ll never come home.’
6
She’s a’ her gates wide open flung, an she’s welcomed them in,
An she sleeps wi the villain that slew her baron.
* * * * *
1^1. Baulbachlie.
5^2. home _originally_; _altered to_ in.
_The stanzas have been arranged by the light of_ =A=.
87. =D=, as it stands in “The Old Lady’s Collection,” No 25, ‘The
Barron of Breachell.’
1
‘Barron of Breachell, are ye withen?
The sharp sourd is att yer gate, Breachell, will gar yer blod spine.’
2
‘The’r at yer gate, Brichell, the’r nether men nor lads,
Bat silly heard widifaus, we belted plaids.
3
‘O if I had a man,’ she says, ‘as it louks I haa nean,
He widne sit in the house an see my kay tean.
4
‘Bat, lasses, tak doun yer rokes, an we will defend,’
. . . . . . . . ..
5
‘O kiss me, d[ea]r Peggey, an gee me doun my gun,
I may well gaa out, bat I ill never come in.’
6
Out spak his brother, says, Gee me your hand,
I [ill] fight in your caus as lang as I may stan.
7
Fan the Barron of Brechell came to the closs,
A braver barron never read upon horse.
8
. . . . . . . . . .
‘I think the silly heard widdefus are groun fighten men.’
9
First they killed an, and sayn they killed tua,
An the Barron of Brichell is dead an awa.
10
They killed Sandy Gordon, Sandy Gordon of the Knok,
The miller an his three sons, that lived att Glenmuke.
11
First they killed ane, an sayn they killed tua,
An the Barron of Brichell is dead an awaa.
12
Up came Crigevar an a’ his fighten men:
‘Had I come an houre sinner, he sudna ben slain.’
13
For first they killed an, an sayn they killed tua,
An the Barron of Breachell is dead an awa.
14
‘O came ye by Brechell, lads? was ye in ther?
Saw ye Peggie Doun, raving her hear?’
15
‘We came by Breache[l], lads, we was in ther;
We saa Peggie Doun, curling her hear.
16
‘She ate we them, drank we them, bad them come in
To her haas an her bours that had slain her barron.’
17
‘Come in, gentelmen, ate an drink we me;
Tho ye have slain my barron, I ha na ill well att thee.’
18
‘O was ye att Glenmuck, lads? was ye in ther?
Saa ye Catren Gordon, raving her hear?’
19
‘We was att Gleanmuck, lads, we was in ther,
We saa Catren Gordon, ravi[n]g her hear.
20
‘We the tear in her eay,. . . . . .
Seven bearns att her foot, the eaght on her knee.
21
They killed Peater Gordon, Peater Gordon of the Knok.
The miller an his three sons, that lives att Glenmuck.
22
First they killed an, an sayn they killed twa,
An the Barron of Breachell is dead an awaa.
208. Lord Derwentwater.
P. 116 b. Add at the end of the first paragraph: Robert Patten, The
History of the Rebellion in the Year 1715, 4th ed., 1745, p. 47.
123. From “The Old Lady’s Collection,” second part, p. 6.
J
1
The king has written a brod letter,
An sealled it our with gould,
An sent it to Lord Darnwater,
To read it if he could.
2
Whan Lord Darnwater saa the letter,
A light laughter lough he;
Bat or he read it to an end
The tear blinded his eye,
An sighan said him good Lord Darnwater,
I am near the day to dei.
3
Out spak his lady,
In child-bed wher she lay;
‘My d[ea]r Lord Darnweter, what is to becom of me,
An my young famely?’
4
‘I will leave my young famely
As well as I cane;
For I will leave to my lady
The third part of my land,
An I will live to my e[l]dest son,
The tua part of my land.
5
‘An I will live to my eldest daught[er]
Five thousand pound of gold,
An I will live to my second daughter
Three thousand pound of gold.
6
‘Ye saddel to me my littel gray horse,
That I had wont to ried;
. . . . . . . .
. . . . . . . .
7
The first stape Lord Darnwater staped,
He stumbled on a ston;
Said Lord Darnwater,
I feer I ill never come home.
8
When he came to fair London city,
An near unt[o] the toun,
‘A trater! a trater!’ said they,
‘A trator we see!’
9
‘A trater?’ said good Lord Darnwater,
‘A trator I nier could be,
Unless it was bringen three hundred men
To fight for young Jamie.’
10
But when he came to Tour Hill
Befor him came a bold man,
. . . . . . . .
With a broad aix in his hand.
11
. . . . . . . .
. . . . . . . .
‘Hear is five ginies of gold an my green velvet coat,
For to be your fee.’
12
‘Ye nobels all,
Come hear to see me die,
An ye peopell of fair Sco[t]land,
Be kind to my family.’
13
Lord Darnuater was dumed to die, to die,
Good Lord Darnwater was dumed to die.
* * * * *
2^5. sigh an.
2^6. am _doubtful_.
4^4, 5^4, 9^3. 3.
4^5. will live _twice_.
4^6, 5^3. 2.
5^2, 11^3. 5.
7^3, 9^1. L. D.
13^2. Daruan Water.
314. The Braes o Yarrow.
P. 160 ff., 522 ff.
S
Findlay’s MSS, I, 181; The Dowie Dens o Yarrow, “from Banffshire,
through James Milne, Arbroath.”
1
There lived a lady in the South,
Ye would scarcely find her marrow;
She was courted by nine gentlemen
An a ploughman-lad frae Yarrow.
2
Ae nicht the nine sat drinkin wine
To the lass wha had nae marrow,
When the ploughman swore, tho they were a score
He wad fecht them a’ in Yarrow.
3
It’s he’s gane ower yon high, high hill,
And doon yon glen sae narrow,
An there he saw nine armëd men,
To fecht wi him in Yarrow.
4
‘There’s nine o you an I’m but ane,
An that’s an unequal marrow,
But wi this gude blade and powerfu arm
I’ll lay you low on Yarrow.’
5
It’s three he slew, and three withdrew,
And three lay dead on Yarrow,
But in behind cam her brother John,
An pierced his body thorough.
6
‘Gae hame, gae hame, you fause young man,
An tell your sister sorrow,
That her true-love John lies dead and gone
In the dowie dens o Yarrow.’
7
‘O father dear, I’ve dreamed a dream,
I’m feared it will prove sorrow;
I dreamed I was puin the heather-bells sweet
On the bonny braes o Yarrow.’
8
‘O daughter dear, your dream is read,
I’m feared it will prove sorrow;
Your true-love John lies dead and gone
In the dowie dens o Yarrow.’
9
It’s she’s gane ower yon high, high hill,
An doon yon glen sae narrow,
An there she saw her true-love John
Lyin cauld an dead on Yarrow.
10
She washed his face an combed his hair,
Wi muckle grief an sorrow,
She rowed him i the plaid she wore,
In the dowie dens o Yarrow.
11
Her hair it was three quarters lang,
The colour being yellow;
She tied it round his middle sma,
An carried him hame frae Yarrow.
12
‘O daughter dear, I pray forbear,
I’ll wed you to another marrow;
I’ll wed you to some fitter match
Than the lad that died on Yarrow.’
13
‘O father dear, you hae seven sons,
Should you wed them a’ to-morrow,
A fairer flower never grew in June
Than the lad that died on Yarrow.’
14
This lady, being six months with child
To the ploughman lad of Yarrow,
She fell into her father’s arms
An died wi grief on Yarrow.
* * * * *
5^1. slew _should of course be_ wounded, _or_ hurt, _as in_ =A=
9^1, =B= 9^1, =D= 7^1, =E= 8^1, =I= 7^1, =K= 7^1, =Q=
6^{1,2}.
215. Rare Willie drowned in Yarrow, or, The Water o Gamrie.
P. 180. =D= stands as follows in “The Old Lady’s Collection,” No 10,
‘The Water of Gamry.’
1
‘Willie is fair, an Willë’s rair,
An Willë’s wondres bonny,
An Willë has promised to marey me,
Gin ever he marred ony.’
2
‘Ye’s gett Jeamie, or ye’s gett Jonny,
Or ye’s gett bonny Piter;
Ye’s gett the walle of a’ my sins,
Bat live to me Willë the writter.’
3
‘I winnë ha Jamie, I winnë ha Jonny,
Nor will I ha bonny Peter;
I winnë ha ony of yer sins,
In I gett na Willie the writter.’
4
Ther was three score an ten brisk young men
Was boun to brid-stell we him.
5
‘Ride on, ride on, my merry men a’,
I forget some thing behine me;
I [ha] forgetten my mider’s blissing,
To boun to bridstell we me.’
6
‘God’s blissing an mine gae we ye, my son Willie,
A’ the blissings of God ga we ye;
For y’er na an hour but bare ninten,
Fan y’er gain to meet yer Meggey.’
7
They road on, an ferder on,
Till they came to the water of Gamry;
An they all wen safe throu,
Unless it was Suet Willie.
8
For the first an step att Willie’s hors steped,
He steped to the bridel;
The nixt an step att Wellie’s hors steped,
Toom grue Willë’s sadle.
9
They rod on, an forder on,
Till they came to the kirk of Gamry,
. . . . . . . .
. . . . . . . .
10
. . . . . . . .
. . . . . . . .
‘A rounin, a rouning,’ she says,
‘An fat means a’ this rouning?’
11
Out spak the bonny bried,
Just att the kirk of Gamrie;
‘Far is the man that was to gee me his han
This day att the kirk of Gamry?’
12
Out spak his breder John,
An O bat he was sorry!
‘It fears me sair, my bonny brid,
He slipes our sune in Gamry.’
13
The ribbons they wer on her hare,
They wer thik an mony;
She rive them a’, late them doun faa,
An she is on to the water of Gamry.
14
She sought it up, she sought it doun,
She sought it braid an narrow,
An the depest pot in a’ Gamry,
Ther she got Suit Willie.
15
She has kissed his comly mouth,
As she had don befor, O:
‘Baith our miders sall be alike sory,
For we’s baith slep soun in Gamry.’
216. The Mother’s Malison, or, Clyde’s Water.
P. 187. =A= is now given as it stands in “The Old Lady’s Collection,”
‘Clide’s Water,’ No 11. It will be observed that 19, 20 repeat No 215,
=D=, 13, 14 (14, 15, of the copy just given).
1
‘Ye gie corn to my hors,
An meatt to my man,
For I will gai to my true-love’s gates
This night, gin I can wine.’
2
‘O stay att home, my son Willie,
This a bare night we me;
The best bed in a’ my house
Sall be well made to the.’
3
‘I care na for your beds, mider,
I care na a pin;
For I ill gae to my love’s gates
This night, gin I can wine.’
4
‘O stay, my son Willie,
This night we me;
The best hen in a’ mey reast
Sall be well made ready for the.’
5
‘I care na for your heans, midder,
I care na a pin;
For I ull gae to my love’s gates
This night, gin I can wine.’
6
‘Gin ye winnë stay, my son Willie,
This a bare night we me,
Gin Claid’s water be dip an fue of flud,
My malicen droun ye in.’
7
He road up yon high hill,
An doun yon douë den;
The roring of Clid’s water
Wod ha flied ten thousand men.
8
‘O spair me, Claid’s water,
Spare me as I gaa!
Make me yer wrak as I come back,
Bat spare me as I gaa!’
9
He raid in, an forder in,
Till he came to the chin;
An he raid in, an forder in,
Till he came to dray lan.
10
An fan he came to his love’s gates
He tirled att the pin:
‘Open yer gates, May Meggie,
Open yer gates to me,
For my bets is fue of Claid’s water,
An the rain rins on a’ my chine.’
11
‘I ha ne loves therout,’ she says,
‘I haa ne love theren;
My true-love is in my arms tua,
An nean will I latt in.’
12
‘Open yer gates, Meggie,
This night to me,
For Clide’s water is full of flood,
An my mider’s mallison will droun me in.’
13
‘An of my chambers is full of corn,’ she says,
‘Anether is full of hay,
The other is full of gentelmen,
An they winnë remove till day.’
14
Out waked her May Meggie,
Out of her drussie dream:
‘I dreamed a dream nou san the streen,
God read a’ dreams to gued!
That my true-love Willie
Was staning att my bed-feet.’
15
‘Nou lay still, my a dather,
An keep my back fraa the call;
It’s na the space of haf an hour
Sayn he gade fra your hall.’
16
‘Hey, Willie! an hou, Willie!
An Willie, winnë ye turn agen?’
But ay the louder that she crayed
He read agenst the wind.
17
He raid up yon high hill,
An doun yon douë den,
An the roring that was in Clid’s water
Wad ha fleed ten thousand men.
18
He raid in
Tell he came to the chine,
An he raid forder in,
Bat never mare came out agen.
19
She sought him up, she sought him doun,
She sought him braid an narrou;
In the depest pot in a’ Claid’s water,
Ther she gat Suit Willie.
20
She has kissed his comly mouth,
As she had den afore:
‘Baith our midders sall be alike sorry,
For we’s bath slipe soun in Clide’s water.’
21
Ther was na mare seen of that gued lord
Bat his hat frae his head;
There was na mare seen of that gued lady
Bat her keem an her sneed.
22
Ther mideers went up an doun the water,
Saying, Clayd’s water din us wrong!
* * * * *
10^6. on =a=.
18^4. ther _follows_ agen, _intended perhaps as a beginning of_ 21.
217. The Broom of Cowdenknows.
P. 195. =D b.= Macmath MS., p. 105; from the recitation of Mary
Cochrane (Mrs Garmory), Abbey-yard, Crossmichael, August 12, 1893.
1
Bonny May to the ewe-buchts is gane,
To milk her daddie’s yowes,
And aye as she sang, her bonny voice it rang
Outoer the taps o the knowes, knowes,
Outoer the taps o the knowes.
2
. . . . . .
. . . . . .
A troop o noble gentlemen
Came riding merrily by.
5
He took her by the middle sae sma,
And by the green gown sleeve,
And he’s laid her down on the dewy, dewy ground,
And he’s askëd no man’s leave.
9
He’s mounted on his milk-white steed,
And he’s rode after his men,
And all that his merry men said to him
Was, Dear master ye’ve tarried long.
10
‘I have ridden east and I have ridden west,
And I’ve ridden among the knowes,
But the bonniest lass that eer I saw
Was milking her daddie’s yowes.’
11
She’s taen the milk-pail on her head,
And she’s gane singing hame,
And all that her father said to her
Was, Dear daughter, ye’ve tarried long.
13
‘O there cam a tod amang my yowes,
An a waefu tod was he;
Afore he had taen my wee yowe-lamb,
I wad rather he had taen ither three.’
15
It happened on a day, and a bonny summer day,
As she was ca’in in her father’s kye,
The same troop o noble gentlemen
Came riding merrily by.
16
One of them calls out
Lassie, have ye got a man?
She turned her head right saucy about,
Saying, I’ve got ane at hame.
17
‘Hold your tongue, my bonny lass,
How loud I hear ye lee!
Do you no remember the caul mirky nicht
When ye were in the yowe-buchts wi me?’
18
He’s ordered one of his merry men
To licht and set her on behind him,
Saying, Your father may ca in his kye when he likes,
For they’ll neer be ca’ed in by thee.
19
‘For I am the laird o the Ochiltree walls,
I have fifty ploughs and three,
And I have got the bonniest lass
In a’ the North Countrie.’
219. The Gardener.
P. 212. Rev. S. Baring-Gould has pointed me to a printed copy of this
ballad, considerably corrupted, to be sure, but also considerably
older than the traditional versions. It is blended at the beginning
with a “Thyme” song, which itself is apt to be mixed up with ‘I sowed
the seeds of love.’ The second stanza is from the “Thyme” song; the
third is a traditional variation of a stanza in ‘I sowed the seeds of
love.’ (See the piece which follows this.) The ballad begins with the
fourth stanza, and the fifth is corrupted by being transferred from the
gardener to the maid. Mr Baring-Gould has lately taken down copies of
the “Thyme” song in the west of England. See one in Songs and Ballads
of the West, No 7, and the note thereto in the preface to Part IV of
that work, p. xv; also Campbell’s Albyn’s Anthology, I, 40, Bruce
and Stokoe, Northumbrian Minstrelsy, p. 90, and Chappell’s Popular
Music, p. 521 f. Rev. S. Baring-Gould has given me two copies, one
from recitation, the other from “a broadside published by Bebbington,
Manchester, Brit. Mus., 1876. d., A Collection of Songs and Broadsides,
I, 264.”
Five Excellent New Songs. Edinburgh. Printed and sold by William
Forrest, at the head of the Cowgate, 1766. British Museum, 11621. b. 6
(8).
1
The wakeing all the winter night,
And the tippling at the wine,
And the courting of a bonny lass,
Will break this heart of mine.
Brave sailing here, my dear,
And better sailing there,
Brave sailing in my love’s arms,
O give I were there!
2
I had a bed of thyme,
And it flourishd night and day,
There came by a squire’s son
That stole my heart away.
Brave sailing, etc.
3
Then up comes the gardener-lad,
And he gave me profers free,
He gave to me the jully-flowers,
To clothe my gay bodie.
4
The gardener stood in his garden,
And the prim-rose in his hand,
And there he spi’d his own true love,
As tight’s a willy wand.
5
‘If he’ll be a lover true,’ she said,
‘A lover true indeed,
And buy all the flowers of my garden,
I’ll shape to thee a weed.’
Brave sailing, etc.
6
‘The prim-rose shall be on thy head,
And the red rose on thy breast,
And the white-rose shall be for a smock,
To cover thy body next.
Brave sailing, etc.
7
‘Thy glove shall be the jully-flower,
Comes lockren to thy hand,
. . . . . . . .
. . . . . . . .
8
‘Thy stockings shall be of the thyme,
Fair maid, it is a pleasant view;
Put on, fair maid, whenever you please,
And your shoes shall be of the rue.’
Brave sailing here, my dear,
And better sailing there,
And brave sailing in my love’s arms,
O if I were there!
9
‘You shape to me, young man,’ she says,
‘A weed amongst the flowers,
But I will shape to you, young man,
A weed amongst the flowers.
10
‘The hail-stones shall be on thy head,
And the snow upon thy breast,
And the east-wind shall be for a shirt,
To cover thy body next.
11
‘Thy boots shall be of the tangle,
That nothing can betide,
Thy steed shall be of the wan water,
Loup on, young man, and ride.’
Brave sailing there, my dear,
And better sailing here,
And ’t is brave sailing twixt my love’s arms,
O if I were there!
* * * * *
Five Excellent New Songs. II. The New Lover’s Garland. III. The Young
Maid’s Answer.
5^1 _should read_, If thou’lt ... he said.
5^2 _should read nearly as in_ =B= 8^3, Among all.
6^4, 10^4. next _should be_ neist.
7^1. grove.
7^{1,2}, 8^{1,2}, _make a stanza_.
_After_ 8: The Young Maid’s Answer, _printed as No 3 of the five
songs_.
9^1. to be a.
9^{3,4} _could be easily corrected_ from =A= 7^{5,6}, =B= 15^{3,4}.
11^1. stangle.
11^2 _should read to the effect_, That’s brought in by the tide.
The piece which follows is little more than a variation of ‘I sow’d
the seeds of love’ (one of “three of the most popular songs among the
servant-maids of the present generation,” says Mr Chappell: see a
traditional version of the song, which was originally composed by Mrs
Habergham towards the end of the seventeenth century, in Popular Music,
p. 522 f.). But the choosing of a weed for a maid from garden-flowers
is here, and is not in the song. It will be observed that the maid
chooses no weed for the gardener, but dies of a thorn-prick, a trait
which is found in neither the song nor the ballad.
Taken down by Rev. S. Baring-Gould from the singing of Joseph Paddon,
Holcombe Burnell. Printed, with changes, in Baring-Gould and Sheppard’s
Songs and Ballads of the West, No 107, Part IV, p. 50, 1891 here as
sung.
Dead Maid’s Land.
1
A garden was planted around
With flowers of every kind,
I chose of the best to wear in my breast,
The flowers best pleased my mind.
2
A gardener standing by
I asked to choose for me;
He chose me the lily, the violet, the pink,
But I liked none of the three.
3
A violet I don’t like,
A lily it fades so soon,
But as for the pink I cared not a flink,
I said I would stop till June.
4
‘The lily it shall be thy smock,
The jonquil shoe thy feet,
Thy gown shall be of the ten-week stock,
Thy gloves the violet sweet.
5
‘The gilly shall deck thy head,
Thy way with herbs I’ll strew,
Thy stockings shall be the marigold,
Thy gloves the violet blue.’
6
‘I like not the gilly-flower,
Nor herbs my way to strew,
Nor stockings of the marigold,
Nor gloves of violet blue.
7
‘I will not have the ten-week stock,
Nor jonquils to my shoon,
But I will have the red, red rose
That flowereth in June.’
8
‘The rose it doth bear a thorn
That pricketh to the bone;’
‘I little heed what thou dost say,
I will have that or none.’
9
‘The rose it doth bear a thorn
That pricketh to the heart;’
‘O but I will have the red, red rose,
For I little heed its smart.’
10
She stoopëd to the ground
To pluck the rose so red,
The thorn it pierced her to the heart,
And this fair maid was dead.
11
A gardener stood at the gate,
With cypress in his hand,
And he did say, Let no fair may
Come into Dead Maid’s Land.
A fragment in Motherwell’s MS., obtained from Widow Nicol, ‘It’s
braw sailing here,’ p. 110, has something of both pieces without any
suggestion of the flower-dress.
1
It’s braw sailing here,
And it’s braw sailing there,
And it’s braw sailing on the seas
When wind and tide are fair.
2
It’s braw drinking beer,
And it’s braw drinking wine,
And it’s braw courting a bonnie lass
When she is in her prime.
3
O the gardener sent me word,
He that pued the rose for me,
The willow, primrose, the red rose,
But I denied all three.
4
The willow I’ll deny,
The primrose it buds soon,
But I’ll chuse for me the red rose,
And I vow it’ll stand till June.
5
In June my red rose sprung,
It was not a rose for me,
So I’ll pull the top of my red rose,
And I’ll plant the willow-tree.
6
For the willow I must wear,
With sorrows mixed amang,
And all the neighbours far and near
Say I luved a false luve lang.
* * * * *
2^2. braw _altered to_ better.
221. Katharine Jaffray.
P. 222. =E=, as it stands in “The Old Lady’s Collection,” No 17, ‘Bony
Catrain Jaffry.’
1
Bonny Catrain Jaffrie,
That proper maid sae fare,
She has loved yong Lochinwar,
She made him no compare.
2
He courted her the live-lang winter night,
Sa has he the simmer’s day;
He has courted her sae lang
Till he sta her heart away.
3
Bat the lusty lard of Lamerdall
Came fra the South Countrey,
An for to ga[i]n this lady’s love
In intred he.
4
. . . . . . . . .
. . . . . . . .
An he has gained her friends’ consent,
An sett the weding-day.
5
The weding-day it being sett,
An a’ man to it boun,
She sent for her first fair love,
Her wedding to come to.
6
His father an his mother came,
. . . . . . .
They came a’, but he came no,
It was a foull play.
7
Lochenwar an his comrads
Sat drinken att the wine;
‘Faue on you!’ sad his comrads,
‘Tak yer bride for shame.
8
‘Had she ben mine, as she was yours,
An den as she has don to you,
I wad tak her on her bridell-day
Fra a’ her compinay.
9
‘Fra a’ her compinay,
Without any other stay;
I wad gee them frogs insted of fish,
An take ther bride away.’
10
He got fifty young men,
They were gallant an gay,
An fifty madens,
An left them on a lay.
11
Fan he came in by Callien bank,
An in by Calline bray,
He left his company
Dancing on a lay.
12
He came to the bridel-house,
An in entred he;
. . . . . . .
. . . . . . .
13
‘Ther was a young man in this place
Loyed well a comly may,
Bat the day she gaes anether man’s bride,
An has plaed him foull play.
14
‘Had it ben me, as it was him,
An don as she has dien him tee,
I wad ha geen them froges insteed of fish,
An tane ther bride away.’
15
The Englesh speared gin he wad fight,
It spak well in his mind;
. . . . . . . .
. . . . . . . .
16
‘It was na for fighten I cam hear,
But to bear gud fileshap gay;
Wan glass we yer bridgrom,
An so I goe my way.’
17
The glass was filled of gued read wine
Betuen them tua:
‘Wan word we yer brid,
An so I goo my waa.’
18
He was on gued horse back,
An whipt the bride him we;
She grat an wrang her hands,
An said, It’s foull play!
19
. . . . . . . .
‘An this I dar well say,
For this day I gade anether man’s bride,
An it’s ben foull play.’
20
Bat nou she is Lochenw[ar]’s wife,
. . . . . . . .
An he gaed them froges insted of fish,
An tain ther bried away.
* * * * *
1. him _imperfect; might be_ hir.
5^2. boung.
225. =G.= Collated with a MS. of Charles Kirkpatrick Sharpe’s and with
another copy of the same pieces in “North Country Ballads,” Miscellanea
Curiosa, Abbotsford Library.
Sharpe, p. 13. 1^1. O _wanting_: Jaffray.
1^3. For she has lovd young L.
3^{1,2}. Lauderdale’s come.
3^3. That pretty.
4^3. He agreed with.
5^3. lossing of the.
6^1. were you, L.
7^1. Ye get.
7^2. And send through.
7^3. Get 150.
7^4. be all.
8^3. And still: trumpets.
9^2. And sent.
9^3. Gat full.
9^4. To be all.
10^1. To be.
10^2. to obey.
10^3. And still: trumpets.
11^3. When he went in upon.
12^2. who was.
12^3. Come never.
13^1. They’ll.
14^3. Askd if he had.
15^1. ever.
15^2. As was.
15^4. Was.
16^3. I did.
16^4. Was leaping on the hays.
17^3. with you, =b=.
17^4, 18^4. bound.
18^2. drank.
19^1. taken.
19^4, 20^4. no.
20^1. so great.
20^2. And so.
20^3. That.
21^1. take their.
21^3. trumpets.
22^1. There was.
22^2. Was walking on a hay.
22^3. Gave them the bonny bride by the hand.
22^4. bad them bound.
23^1. pieces nine.
Scott. 15^2. array _miscopied_ away.
222. Bonny Baby Livington.
P. 231. ‘Bonnie Annie Livieston’ in C. K. Sharpe’s first MS.
collection, p. 24, resembles =D= and =B=, and has as many commonplaces
as =B=, ending with the last three stanzas of several versions of ‘Lord
Thomas and Fair Annet’ or of ‘Lord Lovel,’ =I=.
1
Bonny Anny Livieston
Went out to see the play,
By came the laird of Glenlion,
And [he’s] taen hir quite away.
2
He set hir on a milk-white steed,
Himself upon a gray,
He’s teen hir oer the Highland hills,
And taen hir quite away.
3
When they came to Glenlion’s gate,
The lighted on the green;
There was mony a bonny lad and lass
To welcome the lady hame.
4
They led hir through high towers and bowers,
And through the buling-green,
And ay when they spake Erse to hir
The tears blinded hir een.
5
Says, The Highlands is no for me, kind sir,
The Highlands is no for me;
If that ye would my favour win,
Take me unto Dundee.
6
‘Dundee!’ he says, ‘Dundee, lady!
Dundee you shall never see;
Upon the laird of Glenlion
Soon wadded shall ye be.’
7
When bells were rung, and mas was sung,
And all were bound for bed,
And bonny Annie Livieston
By hir bridegroom was laid.
8
‘It’s O gin it were day!’ she says,
‘It’s O gin it were day!
O if that it were day,’ she says,
‘Nae langer wad I stay.’
9
‘Your horse stands in a good stable,
Eating both corn and hay,
And you are in Glenlion’s arms,
Why should ye weary for day?’
10
‘Glenlion’s arms are good enough,
But alais! the’r no for me;
If that you would my fevour win,
Taike me unto Dundee.
11
‘Bat fetch me paper, pen and ink,
And candle that I may see,
And I’ll go write a long letter
To Geordie in Dundee.
12
‘Where will I get a bonny boy,
That will win hose and shoon,
That will gang to my ain true-luve,
And tell him what is done?’
13
Then up then spake a bonny boy,
Near to Glenlion’s kin,
Says, Many time I hae gane his erand,
But the lady’s I will rin.
14
O when he came to broken brigs
He bent his bow and swame,
And when he came to grass growing
Set down his feet and ran.
15
And when he came to Dundee gate
Lap clean outoer the wa;
Before the porter was thereat,
The boy was in the haa.
16
‘What news? what news, bonny boy?
What news hes thou to me?’
‘No news, no news,’ said bonny boy,
‘But a letter unto thee.’
17
The first three lines he looked on,
A loud laughter gied he,
But or he wan to the hinder en
The tears blinded his eie.
18
‘Gae saddle to me the black,’ he says,
‘Gae saddle to me the broun,
Gae saddle to me the swiftest steed
That eer took man to towen.’
19
He burst the black unto the slack,
The browen unto the brae,
But fair fa on the siller-gray
That carried him ay away!
20
When he came to Glenlion’s yett,
He tirled at the pin,
But before that he wan up the stair
The lady she was gone.
21
‘O I can kiss thy cheeks, Annie,
O I can kiss thy chin,
O I can kiss thy clay-cold lips,
Though there be no breath within.
22
‘Deal large at my love’s buriell
The short bread and the wine,
And gin the morn at ten o clock
Ye may deal as mukle at mine.’
23
The taen was biried in Mary’s kirk,
The tither in St Mary’s quire,
And out of the taen there grew a birk,
And the ither a bonny brier.
24
And ay they grew, and ay they threw,
Till they did meet aboon,
And a’ that ere the same did see
Knew they had true lovers been.
* * * * *
17^3. hinderen.
21^1. thy thy.
223. Eppie Morrie.
P. 239. Collated with a MS. of Charles Kirkpatrick Sharpe’s, and
with another copy of the same pieces, “North Country Ballads,” in
Miscellanea Curiosa, Abbotsford Library.
Sharpe, p. 21.
1^2. all.
1^3. away.
1^4. Because.
2^1. Out it.
2^2. moonlighty.
3^{1,2}. Hald.
3^4. That shall be wedded.
5^1. He has.
5^2. it _wanting_.
5^3. Says, Marry.
6^{1,2}, 7^{1,2}, 10^{1,2}, 15^{1,2}. Hold.
6^4. be married.
7^3. dare not avow to marrying.
7^4. she were.
8^2. could not.
8^3. are away.
9^1. bells was.
9^2. all men bound.
10^{1,2}, 15^{1,2}. away from.
10^3. I loss.
12^3. Scallater.
13^1. Says, Get.
13^4. sure I am: as ye.
14^1. fall.
14^2. you could not.
14^3. taken.
14^4. kis[s]ed your hand.
15^3. For there’s.
15^4. that’s be wedded to me.
16^1. in it came Belbardlane.
16^3. Says, come away home.
17^2. And get to me.
17^4. came.
18^2. and hey the light.
_Written in long lines, without division into stanzas._
Scott. Norrie _throughout_.
2^2. moonlight.
16^3. home _wanting_.
225. Rob Roy.
P. 245. =A.= This version is No 9 of “The Old Lady’s Collection,” and
was copied by Skene without much variation. The following original
readings may be noted.
2^3. Or she.
3^1. serundad.
3^4. fra each other.
6^4. to me has.
7^4. Him sell beside her.
8^1. came by Black.
8^4. not be.
10^{1,2}. Be content _twice only_.
11^2, 12^2. lady _wanting_.
12^1. land.
12^2. for his.
12^3. An _wanting_.
12^4. took them.
13^1. he _wanting_.
13^3. pound.
14^1. Y’er.
249. =E.= In Sharpe’s small MS. volume, “Songs,” p. 42.
1^2. Cam to.
2^1. It’s when.
2^4. her to.
5^3. hasted.
7^3. cries _for_ sighs.
7^4. was laid behind.
8^1. He says to her, etc., Oh, be.
_Readings from_ =A= 1, 2, _are added, in a later hand, in the margin
of_ 1, 3.
254.
L
From a copy formerly in the possession of Charles Kirkpatrick Sharpe,
now belonging to Mr Macmath. The paper on which it is written has the
water-mark 1822. This version closely resembles =C= and =K=.
1
Rob Roy’s from the Highlands come
Down to the Lowland border,
And there he’s stole a fair lady away,
To keep his house in order.
2
As he came in by Blackhill gate,
Twenty men his arms did carry,
And he has stole a fair lady away,
On purpose hir to marry.
3
No tidings came unto the house,
Nor none went in before him,
Or else she had been run away,
For she did still abhor him.
4
But with his men he surunded the house,
Himself went in unto hir,
And when that he had found her out
He profest how much he lovt hir.
5
‘O wilt thou be my dear?’ he says,
‘O wilt thou be my hony?
O wilt thou be my wedded wife?
For I love you far better than ony.’
6
‘I will not be your dear,’ she says,
‘I will not be your honey,
I will not be your wedded wife;
You love me for my money.’
7
But he hir drew amongst his crew,
She holding by hir mother;
With doleful cries and watry eyes
The parted from each other.
8
He gave hir no time for to dress
As brides do when the marry,
But fast he hurried hir away,
And rowd hir in his plaidy.
9
He set hir on a milk-white steed,
Himself lept on behind hir,
And he has carried hir away,
Hir friends the could not find hir.
10
The lady’s cries were oftimes heard,
But none durst venture to hir;
She gaurded was on every side,
Hir friends could not rescue hir.
11
As the went over hills and rocks,
The lady oftimes fainted;
Cries, Wo be to my curst mony,
These roads to me invented.
12
As the came in by Drummond town
And at Bachannan tarried,
He bought to her a cloak and gown,
Yet wad she not be married.
13
And when she came the priest before
He askd if she would marry,
But the parson’s zeal it was so hot
For her will he did not tarry.
14
Four held hir up before the priest,
Tow laid hir in hir bed, O,
But still she cried, with watry eyes,
When she was by him laid O.
15
‘Now you’r to the Highlands come,
Out of your native clime, lady,
Never think of going back,
But tak it for your hame, lady.
16
‘Be content, be content,
Be content to stay, lady,
Now you are my wedded wife,
Until your dying day, lady.
17
‘Rob Roy was my father calld,
McGregor was his name, lady,
And all the country where he dwelt
None could exceed his fame, lady.
18
‘I’ll be kind, I’ll be kind,
I’ll be kind to thee, lady,
A’ thy kindred for thy sake
Shall truly favoured be, lady.
19
‘My father reignd as Highland king,
And ruled at his will, lady,
There was nether lord nor duke
Durst do him ony ill, lady.
20
‘Ay through time, ay through time,
Ay through time was he, lady,
Filled was w[ith] sweet revenge
On a’ his enemys, lady.
21
‘He was a hedge about his friends,
A heckle till his foes, lady,
And every ane that did him rang,
He took them oer the nose, lady.
22
‘I’m as bold, I’m as bold,
[As bold] as forest boar, lady,
Every ane that does thee rang
Shall feell my stell claymore, lady.
23
‘Neer a man from Highlands came
That ever did him dare, lady,
But if those persons did escape
He sized upon there gear, lady.
Ay through time, etc.
24
‘My father dealt in horse and cows,
But thou in goats and sheep, lady,
Thre and twenty thousand merk
Makes me a man complete, lady.
Be content, etc.
25
‘Of all the exploits my father did
I do him now outshine, lady;
He never took a prize in ’s life
With sic a face as thine, lady.’
* * * * *
_Title_: Old Song, Rob Roy. Tune, Jonny Fa, the Gipsy Laddy.
_After_ 14. Tune, Had away frae me, Donald.
Here may be added, as an appendix, a fragment of a ballad on the
“Abduction of Nelly Symon.” “The chorus is in Gaelic and the song is
sung to one of the finest native airs.” From The Aberdeen Herald and
Weekly Free Press, February 3, 1883.
1
They hoised her up upon a mare;
It was not for her gowd nor gear;
’T was for her beauty, keen and rare,
That they stealt Ellen Symon.
Se ho or so gur tallum tallum,
Se ho or so gur e so hallum;
Bheir mis ma chinteach ghuds gur tallum,
Chaileig, Eilie Symon.
2
Her father made a bow o bere,
Her uncle he gae twa pound mair,
To hang the rogue he vowed and sware
That stealt his Ellen Symon.
3
When they came on till Allanqooich,
They drank the whisky oot o a quaich,
And ilka are was blythe eneuch,
But wae was Ellen Symon.
4
When they came to the brig o Don,
Peter swore he would move on;
Says Charlie, Lad, ye sanna win,
For my brave Ellen Symon.
226. Lizie Lindsay.
P. 255.
H
From “The Old Lady’s Collection,” No 39.
1
Ther lives a maid in Edinbrugh citty,
Elisa Lindsy they call her by name;
Monye an came to court her,
But a’ ther suit was in vain.
2
Out spak the hear of Carnussë,
An out spak he;
‘Fat wad ye think of me if I wad gae to Edinbrugh citty
An bring this fair creatur we me?’
3
‘If ye gae to Edinbrugh city
An bring this fair creatur we the,
Bring her home we ne flatry,
But by grait policy.’
4
Fan he came to the Netherbou,
Elisa Lindsy for to see,
She drank we him a bottel of cherry,
And bare him gued company.
5
‘Will ye goo to the Hillands we me, Lisee?
Will ye go to [the] Hillands we me?
. . . . . . . .
Ye’s gett cruds an grean why.’
6
Out spak Lissy’s mother,
An out spak she;
‘If ye say so to my daughter,
[I] swaer I ell gar ye die.’
7
‘Keep well yer dother, old lady,
Keep well yer dother fra me,
For I care as littel for yer dother
As she dos for me.’
8
Out spak Lissie Lindsy,
We the tear in her eay;
‘I will gie ye ten gunies,
If ye wad bat sitt in my roum bat a whill
Till I dra you[r] picter,
To mind me on your swit smill.’
9
‘I care as littel for your ten gunies
As ye dou for mine,
But if ye love my person,
Goo we me if ye inclayn.’
10
Fan they came to Carnusie, an even to the glen,
Out came the old day:
‘Ye’r welcom home, Sir Donall, ye’r welcom home,
An that fair creatur ye we.’
11
‘Caa na me mare Sir Donald,
Bat caa me Donall, yer son,
An I’ll caa ye my mother,
An caa me Donall, yer son:’
The words wer spoken in Ears,
Lissie she had nean.
12
‘Gett us a supper of cruds,
[A supper of cruds] an green whay,
An a bed of the best of yeer rushes,
Besids a covering of gray.’
13
Lissy Lindsy bieng weary,
She lay over long in they day:
‘Win up, Lissy Lindsy,
Ye haa layen our lang in the day;
Ye might haa ben out we my mider,
Milken the eus an the kay.’
14
Out spak Lissie Lindsy,
The tear in her eay;
‘I wiss I wer in Edenbrugh citty,
I cannë milk eus nor kay.’
15
‘Hold your toung, Lissie Lindsy,
An dou not freat on me,
For I will haa ye back to Edenbrugh citty,
Nou we grait safity.’
16
Out spak Lissie Lindsy,
The tear in her eay;
‘If I wer in Edenbrugh citty,
They woud think littel of me.’
17
He touk her by the milk-white hand,
Some other forest to vue;
. . . . . . . .
. . . . . . . .
18
Fan they came to Carnusy, out came Donal’s father,
A gay old knight was he;
Out cam Donald’s father,
An four-an-tuenty him we.
19
‘Ye’r welcom, Lissie Lends[y],
Dear welcom to me;
Ye’s be Lady Carnusie,
An gett Donal, my son.’
20
Out came Donald’s mother,
An four-an-tuenty her we:
‘Ye’r welcom, my son,
An that fair creatur ye we.’
* * * * *
17^2. Forest: _doubtful_.
227. Bonny Lizie Baillie.
P. 266. h. ‘Elisa Bailly,’ “The Old Lady’s Collection,” No 37.
3
As I came in by Carron sid,
An in nou by Dumblain,
Ther I mett we Dugall Grame:
He said he wad see me hame.
4
‘My bonny Lisey Ballie,
I ill rou ye in my plady,
An ye wad gaa along we me,
I wad make ye a Heallend lady.’
5
‘If I wad gaa along we ye,
They wad say I wer na wise;
For I cane nether milk cou nor ewe,
Nor can I speak Ears.’
6
‘My bonny Lisie Bailly,
For that ye nead na fear;
For onye that I cane dou,
I ill learn to you, my dear.’
19, 21
‘Then I ill cast off my bra nou goun,
Made of the silk an saten,
An I ell pitt on the hame-made grays,
To skip among the breachan.’
‘My bonny Lisie Bailly,
I ill rou ye in my plaidy,
An ye will go along we me,
I ill make ye a Healand lady.’
20
‘Then I ell cast aff my bra nou shous,
Made of the Turky lader,
An I ell pit on the hame-made broges,
To skip among the header.’
‘My bonny Lisie Bailly,
I ell rou ye in my plady;
Since ye’r to goo along we me,
I ell make ye a Healend lady.’
16
Foull faa the logarheaded Loland lads
That lives near Castell Carey,
Has latten the bonny lass away
The Heallend lad to marry.
* * * * *
16^2. Carey _written so as to look like_ Carly.
228. Glasgow Peggie.
P. 271. =A= is extant among Sharpe’s relics, written on paper having
1819 in the water-mark, in two hands: stanzas 1-6, 8, 9^1, in one, 7
(inserted in the margin) and the rest in another. Sharpe has made a few
slight changes in the text, besides regulating the spelling. The ballad
is now given as it stands in the original copy.
1
‘As I cam in by boney Glassgow town,
The Highland troops were a’ before me,
And the bon[ey]est lass that ere I saw,
She lives in Glassgow, tha ca her Peggy.
2
‘I wad gie my boney black horse,
So wad I my good gray nagie,
If I were a hundred miles in the North,
And nan wee me but my boney Peggy.’
3
Up then spoke her father dear,
Dear vow! but he was wondrous sorey;
‘Weel may yea steel a cow or a ewe,
But ye darna steel my boney Peggy.’
4
Up then spoke her mother dear,
Dear vow! but she spoke wondrious sorey;
‘Now, since I’ve brought ye up this length,
Wod ye gang awa wee a Highland fellow?’
5
He set her on his boney black horse,
He set himsel on his good gray nagy;
They have riden over hill[s] and dales,
Now he is awa wee his boney Peggy.
6
They are riden or hills and dales,
They have riden or mountains maney,
Untill that thay com to a low, low glen,
And there he’s lain down wee his boney Peggy.
7
Up then spoke the Earll o Argyle,
Dear vow! bet he spoke wondrous sorry;
‘The bonniest lass in a’ Scotland
Is af an awa wi [a] Highland fellow!’
8
There bed was of the boney green grass,
There blankets was o the hay sa boney;
He falded his philabeg below her head,
Now he’s lawing down wee his boney Peggy.
9
Up then spoke the boney Lawland lass,
And oh, but she spoke wondrous sorry;
‘A’s warruant my mother would hae a gae soir heart
To see me lian here wi you, my Willie!’
10
‘In my father’s house there’s feather-beds,
Feather-beds an blankets many;
The’re a’ mine, an the’ll shoon be thine,
An what needs your mother be sae sorry, Peggie?
11
‘Dinna you see yon nine score o kye,
Feding on yon hill sae boney?
The’re a’ mine, an the’ll shoon be thine,
An what needs your mother be sorry, Peggie?
12
‘Dinna you see yon nine score o sheep,
Feeding on yon brae sae bonny?
The’re a’ mine, an the’ll shoon be thine,
An what needs your mother be sorry for you?
13
‘Dinna you see yon bonny white house,
Shining on yon brae sae bonny?
An I am the earl o the Isle o Sky,
And surely my Peggie will be calle[d] a lady.’
* * * * *
1^2, 2^3. where.
2^3. =a=: _not unlike_ 2, _but really_ =a=.
9^2. she sape.
9^3. soir: i _not dotted_.
10^3. be the thene.
275.
G
Macmath MS., p. 93. Taken down at Crossmichael, Kirkcudbrightshire,
24th August, 1892, from the recitation of Miss Jane Webster, who had
learned it more than fifty years before, at Airds of Kells, from the
singing of Rosanna McGinnies.
1
It was on a day, and a fine summer’s day,
When the Lowlands they were making ready,
There I espied a weel-far’d lass,
She was gaun to Glasgow, and they ca her Peggy.
2
It’s up then spak a silly auld man,
And O but he spak wondrous poorly!
Sayin, Ye may steal awa my cows and my ewes,
But ye’ll never steal awa my bonny Peggy.
3
‘O haud yer tongue, ye silly auld man,
For ye hae said eneugh already,
For I’ll never steal awa yer cows and yer ewes,
But I’ll steal awa yer bonny Peggy.’
4
So he mounted her on a milk-white steed,
Himsel upon a wee grey naigie,
And they hae ridden ower hill and dale,
And over moors and mosses many.
5
They rade till they cam to the head o yon glen,
It might hae frightened anybody;
He said, Whether will ye go alongst with me,
Or will ye return back again to your mammie?
* * * * * * *
6
Their bed was o the green, green grass,
And their blankets o the bracken sae bonnie,
And he’s laid his trews beneath their head,
And Peggy’s lain doun wi her Heilan laddie.
7
They lay till it cam to the break o day,
Then up they rose and made them ready;
He said, Whether will ye go alongst with me,
Or will ye return back again to your mammie?
8
‘I’ll follow you through frost and snow,
I’ll follow you through dangers many,
And wherever ye go I will go alongst with you,
For I’ll never return back again to my mammie.’
9
‘I hae four-and-twenty gude milk-kye,
They’re a’ bun in yon byre sae bonny,
And I am the earl o the Isle o Skye,
And why should not Peggy be called a lady?
10
‘I hae fifty acres o gude land,
A’ ploughed ower and sawn sae bonny,
And I am young Donald o the Isle o Skye,
And wherever I’m laird I’ll make ye lady.’
231. The Earl of Errol.
P. 284. =B= as it stands in “The Old Lady’s Collection,” No 26.
1
Earell is a bonny place,
Itt stands upon yon plain;
The gratest faut about the toun,
Earell’s na a man.
For fat ye caa the danton o’tt,
According as ye ken,
For the pearting. .. .,
Lady Earel lays her lean.
2
Eearel is a bonny place,
It stans upon yon plain;
The rosses they grou read an whit,
An the apples they grou green.
3
‘Fatt nead I my apron wash
An hing upon yon pinn?
For lang will I gaa out an in
Or I hear my barn’s dinn.
4
‘Fatt nead I my apron wash,
Or hang upon yon dor?
For side an wid is my petecot,
An eaen doun afore.
5
‘Bat I will laice my stays agean,
My middel jump an smaa;
I ull gaa a’ my days a meaden,
Awaa, Earell, awaa!’
6
It fell ance upon a day Lord Earell
Went to hunt him lean,
. . . . . . . .
. . . . . . . .
7
He was na a mill fra the toun,
Nor yett sae far awaa,
Till his lady is on to Edinbrugh,
To tray him att the laa.
8
Littel did Lord Earell think,
Fan he satt doun to dine,
That his lady was one to Edinbrugh,
Nor fatt was in her mind.
9
Till his best servant came
For to latt him kenn,
. . . . . .
. . . . . .
10
She was na in att the toun-end,
Nor yett sa far awa,
Till Earell he was att her back,
His goudy lokes to sha.
11
She was na in att the toun-head,
Nor just att the eand,
Till Earell he was att her back,
Her earent for to ken.
12
‘As lang as they caa ye Kett Carnegë,
An me Sir Gilbert Hay,
I us gar yer father sell Kinnerd,
Yer tougher for to pay.’
13
‘For to gar my father sell Kennerd,
It wad be a sin,
To gee’t to ony naughty knight
That a toucher canna wine.’
14
Out spak the first lord,
The best among them a’;
‘I never seed a lady come to Edinbrugh
We sick matters to the laue.’
15
Out spak the nixt lord,
The best of the toun;
‘Ye gett fiften weell-fared maids,
An pitt them in a roun,
An Earl in the midst of them,
An latt him chouss out ane.’
16
They ha gotten fiften well-fared maids,
An pat them in a roun,
An Earel in the mids of them,
An bad him chuse out ane.
17
He voued them a’ intell a rau,
Even up an doun,
An he has chossen a well-fared may,
An Meggie was her name.
18
He touk her by the hand,
Afore the nobles a’,
An tuenty times he kissed her moue,
An lead her throu the haa.
19
‘Louk up, Meggie, luke up, Meggie,
An thinkne sham[e];
As lang as ye see my goudy loks,
Lady Earel’s be yer name.’
20
Thir was fifteen nobelmen,
An as mony ladys gay,
To see Earel proven a man
. . . . . .
21
‘Ye tak this well-fared may,
An keep her three roun reaths of a year,
An even att the three raiths’ end
I ull draue near.’
22
They ha tane that well-fared may,
An kepeed her three roun reaths of a year,
An even att the three raiths’ end
Earel’s son she bare.
23
The gentelmen they ga a shout,
The ladys gaa a caa,
Fair mat faa him Errel,
But vou to his lady!
24
He was na in at the toun-head,
Nor just att the end,
Till the letters they wer metting him
That Errol had a son.
25
‘Luke up, Megie, luk up, Meggie,
An think na shame;
As lang as ye see my bra blak hat,
Lady Earrol’s be yer name.
26
‘I will gie my Meggie a mill,
Bat an a pice of land,
. . . . . .
To foster my young son.
27
‘Fare is a’ my merry men a’,
That I pay meat an gair,
For to convë my Meggie hame,
.. .. .?’
28
. . . . . . .
. . . . . . .
Even in Lord Earrel’s coach
They conved the lassie hame.
29
‘Tak hame yer dother, Lord Kennard,
An take her to the glen,
For Earell canno pleas her,
Earell nor a’ his men.’
30
‘Had I ben lady of Earrol,
Of sick a boony place,
I wadne gain to Edinbrugh
My husband to disgrace.’
* * * * *
_Refrain. Given only at the end._
15^4, 16^2. roum.
20^2. gay ladys.
24^4. that that.
288. =E= is also in the small MS. volume of C. K. Sharpe’s, “Songs,” p.
17. The reading in 3^4 is “toss,” “top” being a mis-copy.
289. Findlay MSS, I, 135; ‘Airlie,’ from Miss Butchart, Arbroath.
1
Lord Airlie’s courted mony a lady,
He’s courted mony a ane, O
An he’s awa to bonny Kinnaird,
Lady Katrine’s love to win. O
2
An when he cam to bonny Kinnaird,
An on the bowlin-green,
There he saw his ain Katrine,
Was walking there alane.
3
‘O will ye go to bonnie Airlie,
Alang wi me to dine?
Or will ye go to bonny Airlie,
To be my lady fine?’
4
‘I winna go to bonny Airlie
Alang wi you to dine,
But I will go to bonny Airlie
To be your lady fine.’
* * * * * * *
5
He would not hae the lady gay,
That rustled in her silk,
But he would hae the country-girl,
Goin to sell her milk.
6
He took his Peggie by the hand
An led her through the ha,
An twenty times he kissëd her,
Before the nobles a’.
7
He took his Peggie by the hand
An led her through the trance,
An twenty times he kissëd her
Before he bade her dance.
Findlay MSS, I, 153, from Bell Harris, Muirside of Kinnell,
Forfarshire, “once a servant of the family of Carnegie, and now upwards
of eighty years of age (1868).”
1
They hae made a marriage o’t,
An they hae made it sune, O
An they hae made a marrige o’t,
It stood at Earlstoon. O
2
When een was come, an bells were rung,
An a’ men boond for bed,
The earl and his gay ladie
In ae chamber were laid.
3
It’s up i the mornin the earl rose,
Went to anither room;
Up she rose an away she goes,
An to Kinnaird she came.
4
They socht her up, they socht her doon,
They socht her through a’ the toon,
An she was seen walkin her lane,
An her bed-goon it was on.
5
He wissd his horse had broken’s neck
When first he to Kinnaird did come.
6
There was na ane bade him come in
But John Lindsay him lane.
7
When he was at bonny Kinnaird,
An on the bowlin-green,
His hair was like the threeds o gold,
An his eyes like diamonds sheen;
He micht’ll ae served the best Carnegie,
That ever bore the name.
8
He said, Tho ye be Kate Carnegie,
I am Sir Gilbert Hay;
I’ll gar your father sell Kinnaird,
Your tocher-gude he maun pay.
9
‘To gar my father sell his land
I think it were a sin,
For ony silly brat like you;
Ye couldna tocher win.
10
‘I may wash my apron
An hing it on the tower,
An I may kilt my petticoats,
They’re even doon afore.’
11
But the earl he’s awa to Edinbro,
To prove himself a man;
The lady she fast followd him,
To swear that he was none.
12
An when they cam to Edinbro,
And into the ha,
There she saw her ain gude lord,
Amang the nobles a’.
13
He took the tapster-lass
An led her through the room,
An twenty times he kissed her mou,
Afore his lady’s een.
14
She took the cocks all frae her head
An dashed them at the wa;
‘Awa! awa, Lord Earl!’ she says,
‘Awa, Lord Earl, awa!’
15
But the earl he hae gotten leave
To choise a maid unto himsel,
An he hae choised a country-lass,
Cam butter an eggs to sell.
16
He took the lassie by the hand
An led her through the room:
‘I’d gie thee three times three hundred pound,
If you’d bear to me a son.’
17
‘Haud aff your hands, Lord Earl,’ she said,
‘Haud aff your hands frae me;
For I wad think it a great disgrate
For a’ my kin an me.’
18
But he has called for a private room,
An there he laid her doun,
An there he took his will o her,
Upon a bed o down.
19
She was three quarters of a year
Confined to a room,
And bonny was the babe she bore,
Sir John Hay was his name.
20
‘Wae be to you, Peggie Stuart,
That ae sister o mine!
Ye’ve pairted me an my gude lord,
We’ll never meet again.’
21
Up spak her sister, Lady Jean,
. . . . . .
An I could gain sick an estate,
I wad gien my husband up to disdain.
* * * * *
6^2. John Lindsay _is explained to be_ the gardener.
11^3. They lady.
13^4. _Followed by_ Wi twenty lookin on, _perhaps an alternative
verse_.
14^1. She _is explained as the tapster-lass_.
20^1. _Query by Mr Findlay_: Lady Jean?
290. =D b.= Now collated with a MS. of Charles Kirkpatrick Sharpe,
and with another copy of the same pieces in “North Country Ballads,”
Miscellanea Curiosa, Abbotsford Library.
Sharpe, p. 15. _Burden_ ^{1,3}. of it.
_Burden_ ^3. you call: of it.
^4. lies alone O.
1^3. at it grows.
2^2. upon a.
2^4. He’s not.
4^1. It’s sure.
6^3. good witness.
7^3. Said, Had I been the lady of Errol.
7^4. of such.
8^3. And he gave her an.
10^1. lien down.
10^2. And a.
12^1. Take home.
12^2. take.
12^3. cannot please her.
Scott.
7^4. O come.
12^4. No can.
232. Richie Story.
P. 292 b, 2d paragraph, first line. Say: L. F., a daughter of John,
third Earl.
3d paragraph. Say: Lord John Fleming was created Earl of Wigton, Lord
Fleming of Biggar and Cumbernauld, by letters patent dated 19th March,
1606. Hunter (2d ed.), p. 547.
293. =B=, as it stands in “The Old Lady’s Collection,” No 21.
1
Comarnad it is a very bonny place,
An ther is ladys three, madam,
Bat the farest an rarest of them a’
Has marred Richerd Storry.
2
‘O hear is a letter to ye, madam,
Hear is a letter to ye, madam;
The Earl of Hume, that galant knight,
Is fain in love we you, madam.
3
‘Ther is a letter to you, madam,
[Ther is a letter to you, madam;]
The Eearl of Hume, that galant knight,
Disers to be yer servant trou, madam.’
4
‘I ill haa nan of his letters, Richerd,
I ill hae nane of his letters, [Richerd,]
I have voued, an I ill keep it trou,
I ill marry nane bat ye, Richie.’
5
‘Say na saa to me, lady,
Sai na saie to me, lady,
For I ha nether lands nor rents
For to manten ye on, lady.’
6
‘Hunten Tour an Tillebarn,
The house of Athell is mine, Richë,
An ye sall haa them a’,
Fan ever ye inclen, Richë.
7
‘For we will gaa to sea, Richë,
I ill sitt on the deak, Richë,
I ill be yer servant air an lait,
Att any houre ye laek, [Richë.]’
8
‘O manie ye be sad, sister,
An mennie ye be sorry, Nelly,
To live the has of bony Comernid,
An follou Richert Storry?’
9
‘O fatt neads I be sad, sister,
Or fou cane I be sorry, Anna?
A bony lad is my delit,
An my lot has been laid afore me.’
10
As she wen[t] up the Parliment Closs,
We her lassed shene so fine,
Monny an bad the lady good day,
But fue thought she was Richert’s lady.
11
As she went up the Parliment Closs,
We her laised shon so fine,
Monny an halled that gay lady,
But fue halled Richerd Storry.
* * * * *
_The first, second, and fourth verse, perhaps, certainly the second and
fourth, should have the trochaic ending which we find in stanzas 2, 5.
It may have been supplied ad libitum._
296. =F a.= Preserved in a small MS. volume with the title “Songs” on
the cover, entirely in Sharpe’s handwriting, p. 27.
297. =I.= A stanza from the authority of Nannie Blake, an old servant
at Peebles: Robert Chambers, in Sharpe’s Ballad Book, 1880, p. 131.
‘Fair Rosewoodie is a’ my ain,
My father left it to me so lately;
Gin ye’ll consent to be my ain,
I’ll gie ye’t a’, my Ritchie Storie.’
235. The Earl of Aboyne.
P. 314. =C.= Here given as it stands in “The Old Lady’s Collection,” No
8.
1
The Earl of Aboyn he’s carrlis an kind,
An he is nou come frae Lonon;
He sent his man him befor,
To tell of his hame-coming.
2
First she called on her chambermad,
Sayn on Jeanie, her gentelwoman:
‘Bring me a glass of the best claret wine,
To drink my good lord’s well-hame-coming.
3
‘My sarvants all, be ready att a call,
. . . . . . . .
. . . . . . . .
For the Lord of Aboy[n] is coming.
4
‘My cooks all, be ready at a [c]all,
. . . . . . . .
We the very best of meatt,
For the Lord of Aboyn is coming.
5
‘My maids all, be ready at a call,
. . . . . . . .
The rooms we the best all to be drest,
For the Lord of Aboyn is coming.’
6
She did her to the closs to take him from his hors,
An she welcomed him fra London:
. . . . . . . . .
‘Yer welcome, my gued lord, fra London!’
7
‘An I be saie welcom,’ he says,
‘Ye’ll kiss me for my coming,
For the morn sud ha ben my weding-day
Gif I had stayed att London.’
8
She turned her about we a disdanfull look,
O dear, she was a pritty woman!
‘Gin the morn sud ha ben yer weding-day,
Ye may kiss yer houers at London.’
9
. . . . . . . . .
. . . . . . . . .
‘So I shall, madam, an ye’s ha na mare to say,
For I ill dine we the markes of Huntly.’
10
She did her to his servant-man,
I wat they caed him Peater Gordon:
‘Ye will ask my good lord if he will late me
We him a singel mille to ride [to London].’
11
‘You ned not, madam,. .. .
I haae asked him already;
He will not lett you a singel mille ride,
For he is to dine we the markes of Huntly.’
12
She called on her chamber-maid,
Sine on Jean, her gentelwoman:
‘Ye make my bed an tay up my head,
Vou’s me for his hear coming!’
13
She lived a year an day, we mucell grife an wae,
The docters were we her dealing;
Withen a crak, her heart it brack,
An the letters they went to London.
14
He gae the table we his foot,
An caped it we his knee,
Gared silver cup an easer dish
In flinders flie.
15
. . . . . . . .
. . . . . . . .
‘I rader I had lost a’ the lans of Aboyne
Or I had lost bonny Margrat Irven.’
16
He called on his best servang-man,
I wat they [caed] him Piter Gordon:
‘Ye gett our hosses sadled we speed,
Vou’s me for our hear coming!
17
‘.. .. .. ..
. . . . . . . .
For we’ll a’ be in black, fra the hose to the hat,
Vou’s me for bonny Margrat Irvicen!
18
‘We must to the North, to burry her corps,
Aless for our hear coming!
I rather I had lost a’ the lands of Aboyn
Or I had lost bonny Marg[ra]t Irvien!’
* * * * *
1^1. carliss: _perhaps_ courtis.
8^2. pritty: _doubtful_.
318-20. Copies of =G=, =I=, =J=, were sent by Motherwell to C. K.
Sharpe, in a letter dated December 6, 1824. In all the transcripts
there are some slight changes of the MS. text, such as Motherwell
was quite in the way of making. To =I= he added the following lines,
which are found substantially in =J=. They may have been subsequently
recollected by the reciter of =I=.
10
She has called her servant-maid,
And Jean, her gentlewoman:
‘Go make me a bed and lay me down,
I’m as sick as any woman.’
11
Word has to new London gane,
To the tavern where he was dining;
He gave such a rap on the table where he sat
Made all the house to wonder.
12
. . . . . . . .
. . . . . . . .
‘I would rather hae lost a’ the lands o Aboyne
Or I’d lost my Peggy Irvine!’
* * * * *
11^1. _Motherwell suggests_: Word has now to.
321. Findlay MSS, I, 120. ‘The Yerle o Aboyne,’ from Mrs Main,
Inchmarlo, Kincardineshire.
1
The Yerle o Aboyne’s to London gane,
He met in wi a temptin woman;
For she sat an sang an birld at the wine,
An she wadna lat him hame fae Lunon.
* * * * * * *
2
‘My cook-maids a’, be well in ca,
Had pots an pans a boilin,
Wi the roast an the boil,
To attend my guid lord’s comin.’
3
She steppit sae neatly oot the way,
She gaed, she went an met him:
‘Ye’re welcome home, my ain guid lord,
You’r thrice weelcome fae Lunon.’
4
‘An I be welcome home,’ he says,
‘Ye’ll kiss me for my comin,
For this very day I’d been wedded to a maid
Gin I’d staid langer in Lunon.’
5
She turnd her about wi a sorrowfu look,
Such a sorry an angry woman!
‘An the letters be true I receivd last frae you,
Gae kiss your whores in Lunon.’
6
Haem she gaed frae. .. .
. . . . . . .
But wi a crack her heart did brak,
. . . . . . .
7
Fifty letters seald wi black,
An they are on to Lunon,
An when he lookd the letters upon
He says, O wae’s me for my pairtin!
* * * * * * *
8
When he cam to bonny Aboyne
He thocht that she was sleepin,
But when he drew the sma curtain by
Then he fell oot a weepin.
9
‘O dear! is she dead? and a wow! is she dead?
Ah, woe’s me for our pairtin!
I rather had lost a’ the lands o Aboyne
Or I’d pairted wi Peggie Irvine.
* * * * * * *
10
‘A’ my friends did me disdain
For marryin the name o Irvine.’
The first stanza is also given thus (p. 121):
The Earl of Aboyne he’s courtous an kin,
He’s kin to every woman;
He’s kind when he comes, an he’s kind when he gangs,
But he never brings his lady to London.
From Miss Butchart, Arbroath, p. 146.
1
The Earl o Aboyne’s to London gane,
An taen Duke Huntly wi him,
* * * * * * *
2
She called on Jack, her gentleman,
An Jean, her gentlewoman:
‘Gae dress my fair body in some finer dress,
For the Earl o Aboyne is comin.’
* * * * * * *
3
She’s gaen doun by yon burnside,
An there she saw him comin:
‘Ye’re welcome, welcome, Earl o Aboyne,
Ye’re welcome hame frae Lunon.
* * * * * * *
4
‘Gae back, gae back then, Earl o Aboyne,
Nae thanks to you for comin;
Gin tomorrow wad hae been your fair weddin-day
Gae kiss your dames in Lunon.’
236. The Laird o Drum.
P. 324. =B=, as it stands in “The Old Lady’s Collection,” No 16, ‘The
Lard of Drum.’
1
Ther was a knigh[t],
An a gillan knight was he,
An he’s faein in love we his shiperd’s daughter,
. . . . . . .
2
. . . . . . .
He could nether gang nor ride;
He fell so deap in her fancy
Till his nose began to blead.
3
‘Bonny may, an bra may,
Canno ye on me rue?
By a’ the meads I ever saa,
Ther is nane I lou by you.
4
‘Ye’r a shepherd’s ae dother,
An I am a barron’s son,
An gratt is the pleasur I wad haa
To see you gaa out an in, may.’
5
‘I am a shiperd’s ae dother,
An ye’r a barron’s son,
An ther is ne pleasur I could ha
To see you gae out nor in.
6
‘. . . . . . . . .
. . . . . . . . .
For I widne gee the fancey of my bonny love
For ne love nor favour of you, sir.’
7
‘Bonny may, an bra may,
Canna ye on me rue?
By a’ the maids I ever saa,
Ther is nane I loie but you.’
8
‘Lay not your love on me,’ she says,
‘Lay not your love on me,
For I am our lake to be yer bride,
An you[r] quen I ell never be.
9
‘For I will wear nane of your silks,
Nor nean of yer scarlet clase;
For the hue of the eue sall be my goun,
An I will goo as I pleas.’
10
‘. . . . . . .
. . . . . . .
Ye’r na our lake to be my bride,
An my quien ye’s never be.
11
‘Bonney may, an bra may,
Winnë ye on me rue?
By a’ the may[s] I see,
Ther is nane I loe but you, may.’
12
‘If ye ha faen sae deap in my fancy
Ye cane nether gang nor rid,
Ye take me to the middel of the ring,
An bear me guid comp[a]ny.’
13
He has tane her by the milk-whit hand
An led her thro hase an bours:
‘Ye’r the jule of my heart,
An a’ I have is yours.’
14
He tuke her by the milk-whit hand
An led her out an in:
‘Ye’r the jule of my heart,
My d[ea]r, ye’r welcom in.’
15
Out spak his brother John,
‘Brother, ye haa don grate wrong;
Ye ha marred a wife this night
Discredet to all yer kin.’
16
‘Hold yer toung, my brother John,
For I hae don ne wrang,
For I ha marred a wife to wine,
An ye ha ane to spend.’
* * * * *
May, 4^4, 11^4, sir, 6^4, _are added for singing as_ O _is in
other copies, and either one of these, or_ O, _would naturally be
appended in the other stanzas_.
8^1. Lay not fancyour love on me. _The next line shows that fane was
written by mistake._
325. Findlay’s MS., p. 13, has five stanzas of the ballad, from the
recitation of a woman in Kincardineshire. The five stanzas are very
nearly the same as =D= 1, 2, 4, 5, 6^{1,2}, with the matter-of-fact
conclusion, 6^{3,4},
An a’body seemed to be content,
And she was at his will.
A stanza from another version is given at the same place which
resembles =E= 8:
She canna wash your china cups,
Nor dress you a dish o tea, O
But weel can she milk baith cow and ewe,
Wi her cogie at her knee. O
I have received nearly the same from Mr Walker of Aberdeen as sung by
John Walker, crofter, Portlethen, 1893.
Yer china cups I canna wash,
Nor cook a cup o tea, O
But weel can I milk the cowes and the ewes,
Wi the cogie on my knee. O
237. The Duke of Gordon’s Daughter.
P. 332. There is a copy in a collection of folio sheet ballads, British
Museum, 1346. m. 8, with the date September 8th, 1775, at the end;
earlier, therefore, than any of those I had before me excepting a, and
worth collating.
1^4. they _wanting_.
2^4, 3^4. she did.
3^2. the _wanting_.
3^3. Jean’s fallen in.
4^4. mony.
5^3. with _wanting_.
5^4. Jeanny.
6^4. she’s no.
7^3. Lady Jean’s fallen in love with.
7^4. she would.
8^2. upon yon.
8^3. he did.
8^4. a training of.
9^1. O woe be.
9^2. And _wanting_: death shall you.
9^4. shalt thou.
10^1. Duke of.
10^4. he did such a thing.
11^3. him put off his gold lace.
11^4. the _wanting_.
13^4. will I.
14^2. a yer but only three.
14^3. babe on.
15^1. O I’m weary with.
16 _comes before_ 15.
16^1. O I am weary wandering.
16^2. think it lang.
17^3. sheen: all _wanting_.
17^4. she could.
18, 19, _wanting._
20^1. I was: glen of Foudland.
20^4. either house or sheen.
21^1. When they: to bonny C. G.
21^3. out _wanting_.
22^1. O _wanting_: dear Jeannie G.
22^2. welcome dear.
22^4. Captain _wanting_.
23^1. over the.
23^2. As _wanting_.
24^1. ye.
25^1. what means this.
25^3. are all dead.
26^2. drink, be jovial.
27^3. out with _wanting_.
28^1. pretty _wanting_.
28^3. can enter my.
30-32 _wanting._
33^2. you’re welcome dear to me.
33^3. You’re welcome, bonny Jeanny Gordon.
33^4. With my young family.
238. Glenlogie, or, Jean o Bethelnie.
P. 346. =I b.= A copy of this version has been found at Abbotsford, in
a portfolio labelled ‘The Rever’s Wedding and other important papers.’
There are a few differences of reading.
_In the stanza after 1, line 3_, be richer, _line 4_, maun hae.
2^1. Oh whare.
2^{2,4}. gang: again soon.
3^1. he cam: gae.
3^2. gae.
3^3. my maister’s.
3^4. stop till.
5^1. Gae: gar.
5^3. lang or ere.
5^4. O _wanting_.
6^3. quo she.
7^2. But _wanting_.
239. Lord Saltoun and Auchanachie.
P. 349. =A b.= Now collated with a MS. of Charles Kirkpatrick Sharpe’s
and another copy of the same pieces in “North Country Ballads,”
Miscellanea Curiosa, Abbotsford Library. Stanzas mostly of four lines.
Sharpe, p. 10.
1^1. stepping on.
1^2. ye’re.
2^1. caren.
2^2. Achanachie (_and always_).
3^1. not take; it _wanting_.
3^2. and he’s thrawn.
4^1. I’m bown: you.
4^2. not.
5^2. out _wanting_: and they cutit.
7^1. came.
8^1. fleed.
8^2. Jeanie is.
350. =B c.= From “The Old Lady’s Collection,” No 29. We have here
Gordon of Auchanachie, though the scene is in Buchan.
1
Buchan is bonny an ther lays my love,
My fancë is fixed on him, it winnë remove;
[It winnë remove] for a’ I cane dee,
Achanacë Gordon is my love an sall be.
2
Ben came her father, steps on the floor,
Says, Jeanie, ye’r acting the part of a hour;
Ye’r leaking ane that cares na for ye;
Wed Salton, an latt Achenecy be.
3
‘Achainace Gordon is a pritty man,
Bat Acchanace Gordon has na free land;
For his land is laying wast, an his castell faaen doun,
So ye man take Salton, latt Achennecy be.’
4
‘My friends may case me we Salton to wed,
Bat my friends sall na case me we him to bed;
I ill never bear to him dother nor sin till the day I sall deei,
For Achannace Gordon is my love an sall be.’
5
Her friends they have cassed her we Salton to wed,
Bat they never got her we him to bed;
She never bare dother nor sin till the day that she dead deei,
For Achainace Gordon was her love and sud be.
6
‘Ye that are her madins, ye take aff her goun,
An I will infeft her in five thousand pound;
She sall werr silk till her heel and goud till her kneee,
An she man forget him young Achanice.’
7
‘Ye that are my madins sanna take aff my goon,
Nor will I be infefted in five thousand pound;
I winnë wer goud on my head nor silk to my knee,
Nor will I forsake young Achanice.’
8
‘Ye that are her madins bring her to my bed,
The bed is made ready an the shits doun spread;
She sall lay in her bed till tuall in the day,
An sin forget him young Achanace.’
9
‘Ye that are my madins sanna ha me to his bed,
Tho the bed be made ready an the shits doun spread;
Nor will I lay in his bed till tuall of the day,
Nor forsake him young Achanicy.
10
‘For rather then have wedded Salton to wear goud to my knee,
I rather wedded Achanicy tralled fait fish fraa the sea;
Or I had weded Salton an wore robes of read,
I rader wead Achanace, we him begg my b[r]ead.’
11
Achanicy Gordon came fra the sea,
We a gallant regment an brave companie;
He sought out his Jeanie we doll an we care,
An Achanice Gordon is leak to dispear.
12
Doun came her handmaid, wringen her hands:
‘Alass for your staying sa lang in strang lands!
For Jeanie is marred, an nou she is dead.
Alass for your staying sae lang on the flood!’
13
. . . . . . . . . .
‘Take me to the room far my love lays in;’
He has kessed her comly lips, they wer paill an wan,
An he dyed for his Jeanie that very same night.
* * * * *
1^3. came.
5^3. she deaded.
12^2. strying.
12^4. on _doubtful_.
240. The Rantin Laddie.
P. 352. =B= as it stands in “The Old Lady’s Collection,” No 3, ‘The
Rantan Laddy.’
1
‘Aft have I played att the cards an the dice,
They wer so very entisen,
But this is a sad an a sorofull seat,
To see my apron riseng.
2
‘Aft ha I plad att the cards an the dice,
For love of my laddy,
Bat nou I man sitt in my father’s kittchë-nouk,
An roke my baby.
3
‘Bat gin I had an of my father’s servens,
For he has so mony,
That wad gaa to the woods of Glentaner
We a letter to the ranten laddy!’
4
‘Hear am I, an of your father’s servants,
For he has so many,
That will gaa to the woods of Glentaner
We a letter to the ranten laddy.’
5
‘Fan ye gee to Aboyn,
To the woods of Glentaner sie bonny,
We yer hat in yer hand, gee a bou to the grond,
In the presenc[e] of the ranten laddy.’
6
Fan he gad to Aboyn,
To the woods of Glentaner saae bonny,
We his hat in his han, he gied a bou to the grond,
In the preasence of the ranten laddy.
7
Fan he looked the letter on,
Saa loud as he was laughing;
Bat or he read it to an end
The tears they came doun raping.
8
‘O faa is this, or faa is that,
Has ben so ill to my Meggie?
. . . . . . .
. . . . . . .
9
‘Bat ye gett four-an-tuinty milk-whit steads,
We an E an O an O me!
An as monny gay ladys to ride them on,
To gaa an bring hame my Meggie.
10
‘Ye gett four-an-tuinty berrie-broun steeds,
We an E an O an O me!
An as mony knights to ride them one,
To gaa an bring hame my Meggie.’
11
Ye lasses a’, war ever ye be,
An ye match we ony of our Deesid ladds,
Ye’ll happy be, ye’ll happy be,
For they ar frank an kin.
12
The’r frank an kin
The’r free,
An ye match we ony of our Deesid ladds,
Ye’ll happy be.
* * * * *
9^2, 10^2. ome.
9^3. laddys.
In Findlay’s MSS, =I=, 84 is this stanza,===B= 5, =C= 12, =D= 4:
‘When ye come to Aboyne’s yetts,
Aboyne’s yetts they shine clearly,
Ye’ll tak aff your hat, gie a bow wi your knee,
Gie the letter to my rantin laddie.’
241. The Baron o Leys.
P. 355. Findlay’s MSS, I, 85, gives the first stanza thus (from Mrs
Main, Inchmarlo, Kincardineshire).
The baron o Leys is to London gane,
All in a mornin early;
He’s shod his horse wi siller sheen,
An shown them a’ his folly.
245. Young Allan.
376 =b=, last paragraph. Talking Ships. See Liebrecht, Zur Volkskunde,
p. 365 f., apropos of Árnason’s Skipamál, Þþjoðsögur, II, 8. Árnason
notes two talking ships in Flóamanna Saga, c. 36, and Liebrecht the
Argo.
377. =A.= The original, altered in places by Skeat, stands as follows
in “The Old Lady’s Collection,” where it is No 4.
1
Aa the skippers of merry Lothen,
As they sat att the wine,
Ther fell a rosin them among,
An it was in an unhappy time.
2
Some of them roused ther haks,
An some of them ther hounds,
An some of them ther gay ladys,
Trood neat on the plain:
Young Allan he roused his comely coug,
That lay upon the strand.
3
‘I haa as good a ship this day
As ever sailled our seas,
Except it be the Burges Black,
Bat an the Small Cordvine,
The comly coug of Dornisdall;
We sall lay that three bay in time.’
4
Out spak a littel boy,
Just att Young Allan’s knee,
‘Ye lie, ye lie, ye Young Allan,
Sae loud as I hear ye lie.
5
‘For my master has a littel boat
Will sail thris as well as thin;
For she’ll come in att your formast
An gee out att yer forlee,
An nine times in a winter night
She’ll take the wine fra the.
6
‘O fatt will ye wade, ye Young Allan,
Or fatt will ye wad we me?’
‘I ill wad my head agenst yer land,
Till I gett more monie.’
7
They hed na sailed a legg, [a legg,]
A legg bat bairly three,
Till throug an throu ther bonny ship
They saa the green wall sea.
8
They had na sailled a leag, [a leag,]
A leag bat barly fave,
Till through en throu ther bonny ship
They saa the green wall wave.
9
He gied up to the tapmast,
To see fat he coud see,
An ther he saa the Burges Black,
Bat an the Small Cordvine,
The comly coug of Dornasdell;
The three was rent in nine.
10
Young Allan he grat, an he wrang his hans,
An he kent na fat till dee:
‘The win is loud, an the waves is prood,
An we will a’ sink in the sea.
11
‘Bat gin I cod gett a bonny boy
To tak my healm in han,
. . . . that wad bring
My bonny ship safe to lan,
12
‘He sud gett the tua part of my goud,
An the therd part of my lan,
An gin me wine safe to shor
He sud gett my daughter Ann.’
13
‘Hear am I, a bonny boy
That will take yer helm in han,
. . . . an will bring
Your bonny ship safe to land.
14
‘Ye take four-an-twenty fether-beds,
An ye lay the bonny ship roun,
An as much of the good cannis
As make her hell an soun.’
15
They took four-an-twenty fether-beds,
An laid the bonny ship roun,
An as much of the good canies
As made her hell an soun.
16
‘Spring up, my bony ship,
An goud sall be yer hair!’
Fan the bonny ship hard of that,
Att goud sud be her hire,
She sprang as fast fra the sate water
As the spark dis frae the fire.
17
‘Spring up, my bonny ship,
An goud sall be yer fee!’
An fan the bonny ship hard of that,
Goud was to be her fee,
She sprang as fast fra the sat water
As the life dos fra the tree.
18
The salors stans on the shore-sid,
We ther ill-bukled shen:
‘Thanks to God an our gued master
That ever we came to land!’
19
‘Far is the bonny boy
That took my healm in hand?
.. .. that brought
My bonny ship safe to land?
20
‘He’s gett the twa part of my goud,
The therd part of my lan,
An since we ha wone safe to shore
He’s gett my doughter Ann.’
21
‘Hear am I, the bonny boy
That took yer healm in han,
That brought yer bonny ship,
An brought her safe to lan.
22
‘I winnë ha the tua part of yer goud,
Nor the therd part of yer lan,
Bat since we ha wine safe to shor
I will wed yer daugter Ann.’
23
Fortey ships went to the sea,
Forty ships an five,
An ther came never on back
Bat Young Allan alive.
* * * * *
9^5. comly cord.
12^4, 20^4, 22^4. Anna.
17^{2,4}. hire _for_ fee (_caught from_ 16).
23^2. ane _changed to_ Five.
_Written without division into stanzas or verses._
246. Redesdale and Wise William.
P. 383. There is a copy in C. K. Sharpe’s “second collection” which is
substantially the same as =A=. The variations here follow:
=A b.=
1^2. Was.
1^3. There was a praising.
1^4. In an unhappy.
2^1. For some ones they did praise.
2^4. And _wanting_.
3^1. That out did speak.
3^3. Says, I saw never a.
3^5. But what I would her favour gain.
3^6. With one blink of.
3^6, 4^6. eye.
4^1. out did speak.
4^2. spoke.
4^5. Whose favour you would never gain.
5^1. you.
_After_ 5:
‘That is too good a wager, William,
Upon a woman’s mind,
It is to[o] good a wager Wil[lia]m,
I’m very sure you’l tyne.’
6^1. So.
6^3. he could neither go.
6^4. Nor no.
7^1. has wrote a broad.
7^3. his only.
8^1. read the letter over.
8^2. She lookëd.
8^4. enough.
9^3. she saw.
9^4. riding throw.
10^1. Says _wanting_: Come hitherward.
10^3. here does come.
10^4. For injury to me.
11^1. Come down, come down, said Reedesdale.
11^2. One sight of you I’ll see.
11^3. my gate.
12, 13, _wanting_.
14
‘Come down, come down, O lady fair,
One sight of you I’ll see,
And bony is the rings of gold
That I will give to thee.’
15
‘If you have boney rings of gold,
O mine is bony tee;
Go from my gate now, Reedesdale,
For me you will not see.’
16
‘Come down, come down, O lady fair,
One sight of you I’ll see,
And boney is the bowers and halls
That I will give to the.’
17
‘If you have boney bowers and halls,
I have bowers and halls the same;
Go from my gate now, Reedesdale,
For down I will not come.’
18-21 _wanting_.
22^1. O lady.
22^3. Or then.
22^4. Since.
23^1. So he has set that bower.
23^2. the house it took.
24 _wanting_.
25
‘Come hitherward,’ the lady cried,
‘My maidens all, to me;
For throw the smoak and throw the heat,
All throw it we must be.’
26^1. their mantles.
26^3. And throw the smoak and throw the heat.
26^4. They throw it all did win.
27^1. had all got safely out.
27^2. able for.
27^3. Sent some of them to.
28^2. Have not I gaind.
The Danish ballad ‘Væddemaalet,’ Grundtvig, No 224, spoken of under
‘The Twa Knights,’ ought to have been noticed here also.
252. The Kitchie Boy.
P. 401. =A= as it stands in “The Old Lady’s Collection,” No 20.
1
Ther was a lady fair an rear,
A lady of birth an fame,
She loyed her father’s kittchen-boy,
The greater was her shame.
2
She coud never her love revell,
Nor to him take,
Bat in the forests weed an brade,
Far they wer wont to wake.
3
It fell ance apon a day
Her father went fra home,
An she sent for the kitchë-boy
Into her room.
4
‘Canna ye fancë me, Willie?
Cannie ye fancë me?
By a’ the lords I ever seed,
Ther is nane I cane loie bat ye.’
5
‘O latt ne this be kent, lady,
O lat ne this be knouen,
For in yer father got word of this,
I vou he wad gare me die.’
6
‘Yer life sall na be tane, Willie,
Yer life sall na be tean;
I rader loss my ain heart-blead
Or thy body gat wrang.’
7
We her mery fair spiches
She made the boy bold,
Till he began to kiss an clap,
An on his love lay hold.
8
They hadne kissed an love-claped,
As lovers fan they meatt,
. . . . . . .
. . . . . . .
9
‘The master-cook he will on me call,
An ansured he man be;
In it war kent I war in bour we the,
I fear they woud gar me diei.’
10
‘The master-cook may on ye call,
But ansured he will never be,
For I haa thrie coffers fue of goud,
Yer eyen did never see.
11
‘An I will buld a bony ship for my love,
An sett her to the seea,
An saill she east, or saill she west,
The ship sall be fair to see.’
12
She has buld a bonny ship,
An sett her to the sea;
The top-masts was of the read goud,
The saill of taffety.
13
She gaie him a gay gold ring,
. . . . . .
To mind him on a gay lady
That ance bair love to him.
14
The day was fair, the ship was rair,
Fan that suan sett to sea;
Fan that day tuall-month came an gade,
Att London landed he.
15
A lady louked our castell-wa,
Beheld the day gaa doun,
An she beheld that bonny ship,
Came halling to the toun.
16
‘Come hear, come hear, my mairës a’,
Ye see na fat I see;
The bonnest ship is coming to land
Yer eyen did ever see.
17
‘Ye busk ye, busk ye, my marrës a’,
Ye busk ye unco fine,
Till I gaa doun to yon shore-side
To invite yon squar to dine.
18
‘O ye come up, ye gay young squar,
An take we me a dine;
Ye sall eatt of the gued white lofe,
An drink the claret wine.’
19
‘I thank ye for yer bread,
I thank ye for yer wine,
I thank ye for yer courticë,
Bat indeed I hanna time.’
20
‘Canna ye fancë me?’ she says,
‘Cannie ye fancë me?
Bay a’ the lords an lairds I see,
Ther is nane I fancë bat ye.’
21
‘They are farr awa fra me,’ he says,
‘The’r farr ayont the sea,
That has my heart an hand,
An my love ay sall be.’
22
‘Hear is a gued gould ring,
. . . . . .
It will mind ye on a gay lady
That ance bare love to ye.’
23
‘I haa a ring on my finger
I lee thrice as well as thine,
Tho yours war of the gued read goud,
An mine bat simpell tin.’
24
The day was fair, the ship was rair,
Fan that squar sett to sea;
Fan that day tuall-month came an gaid,
Att hame again landed he.
25
The lady’s father louked over castell-wa,
Beheld the day gaa doun,
An he beheld that bonny ship
Come halling to the toun.
26
‘Come hear, my a dother,
Ye see na fat I see;
The bonnest ship is coming to land
My eyen did ever see.
27
‘Ye busk ye, my dother,
Ye busk ye unco fine,
An I ill gai doun to yon shore-side
An invite yon squer to dine:
I wad gie a’ my reants
To haa ye marrëd to him.’
28
‘They ar farr awa fra me,’ she says,
‘The’r far ayont the sea,
That has my heart an hand,
An my love ay sall be.’
29
‘O will ye come, ye gay hine squar,
An take we me a dine?
Ye sall eat of the gued fait bread
An drink the claret wine.’
30
‘I thank ye for yer bread,
I thank ye for your wine,
I thank ye for your courtisy,
For indeed I haa na grait time.’
31
‘O cannie ye fancë me?’ [he says,
‘Cannie ye fancë me?]
By a’ the ladys I ever did see,
Ther is nain I lue bat ye.’
32
‘They are farr awa fra me,’ she says,
They are farr ayont the sea,
That has my heart an han,
An my love ay sall be.’
33
‘Hear it is, a gay goud ring,
. . . . . . .
It will mind ye on a gay hin chill
That ance bare love to ye.’
34
‘O gatt ye that ring on the sea saling?
Or gat ye it on the sand?
Or gat ye it on the shore laying,
On a drouned man’s hand?’
35
‘I got na it on the sea saling,
I got na it on the sand,
Bat I gat it on the shore laying,
On a drouned man’s hand.
36
‘O bonny was his chike,
And lovely was his face!’
‘Alass,’ says she, ‘it is my true-love Willie,
. . . . . . . .’
37
He turned him rond about,
An suitly could he smill;
She turned her round, says, My love Willie,
Hou could ye me biggeall?
38
‘A prist, a prist,’ the old man crayed,
‘Latt this tua marrëd be:’
Bat lettel did the old man keen
It was his ain kittchen-boy.
4^4. I came.
7^4. her love.
28^2. seas.
35^3. laiying.
257. Burd Isabel and Earl Patrick.
P. 418 b, 3d paragraph. Say: =A= 7 (nearly) occurs in No 91, =B= 7, II,
313, and something similar in other places (as No 91, =A= 5, 6, =D= 7,
No 92, =B= 17).
422. =C.= There is another copy of this version in C. K. Sharpe’s
“second collection,” with the following variations.
=b.=
1^1. Take warning, all ye maidens fair.
2^2. father’s heir.
2^4. she did rue full sair.
3^1. Says, We.
3^2. Which.
3^3. Go ye.
4^1. He hied him to the.
4^2. As fast as he could gang.
4^3. And he brought.
4^4. sign with.
5.
And long before the sun went down
Bird Isabeal bore his son,
And she has called him Patrick,
As it was his father’s name.
6^2, 7^2. Right far.
6^3. parents was.
6^4. Had little gear.
7^4. And dowrey.
8.
Now it fell out up on a time
His wedding day was come,
And all his friends invited were,
His bride to welcome home.
While every one engaged was
That all should ready be,
He hied him to his great-grand aunt,
She was a lady free.
9^1. Says, Go for me this.
9^2. O do go it for me.
9^4. I’ll do as much.
10^1. Go bring to.
10^2. Dress him in silk.
10^3. For if he lives and bruiks his life.
10^4. He is to heir my.
11^1. hailing through the closs.
12^1. I am come.
12^2. Dress him in silk.
12^3. lives.
13^1, 14^1. O was.
13^3. that bairn from my foot.
14^2. Altho in station high.
14^3. Durst take that bairn from.
15^{1,2}.
Now she got frowning throw the closs,
And frowning on the floor.
15^4. And he.
16^{1,2}.
O this was the worst errand, Patrick,
That ever I went for the.
16^3. Bird Isabeal.
17^{1,2}.
He looked right surprised like,
Amazed like looked he.
17^4. She was never.
18^1. And he went hailing throw the closs.
20^1, 21^1. I say.
20^3. Dare take that bairn from my foot.
21^2. Altho in station high.
21^3. Dare take that.
22^4. You wont get.
259. Lord Thomas Stuart.
P. 425. Found in a MS. of Charles Kirkpatrick Sharpe, and in “North
Country Ballads,” Miscellanea Curiosa, Abbotsford Library, which is
another copy of the same pieces.
Sharpe, p. 5. 1^1. Thomas Steuart he.
1^2, mukle mean (_an erasure before_ mean).
1^3, the coat.
3^1. wemen’s wits is.
4^1. steeds was.
5^3. so sick.
6^1. no leech.
7^1. leeches is come and leeches is gone.
7^2. I am.
9^3. lands and.
10^8. got all my lands.
11^1. in their.
11^2. could not.
11^3. leesh.
13^3. And as.
14^3. I fear it may be mony unco lord.
14^4. from the.
15^3. I fear it is mony unco lord.
_With variations of spelling not noted._
Scott (_as above, except_) 1^2, mickle land: land _was perhaps the
word which is blotted out in Sharpe_.
3^1. women’s.
263. The New-Slain Knight.
P. 434 b. Translated also by Gerhard, p. 168.
FOOTNOTES:
[120] This reference is to the article by Julius Krohn mentioned at IV,
482 a.
[121] R. H. Stodart, Scottish Arms, 1881, II, 277, 276. What is there
said of Elliot of Braidley was mostly communicated by Mr. R. B.
Armstrong.
[122] Proceedings of the Society of Antiquaries of Scotland, 1880-81,
p. 93. At several places above I have used a letter from Mr. Armstrong
to Mr. Macmath.
VOL. V.
266. John Thomson and the Turk.
P. 3 b. There may be added another Little-Russian story communicated
to me in translation by Professor Wollner: Ethnographic Survey, etc.
(Etnografičeskoe Obozrěnie, etc.) Moscow, 1893, V, 104.
A tsar and a tsarina, when dying, charged their son Soliman not to
marry a woman older than himself. This, however, he did, and his
wife hated him, and one day, when he was hunting, went off to her
brother, ordering the servants to say that she had died. This report
the servants duly made, but Soliman knew that his wife had gone to
her brother, and he felt the loss so much that he could not keep away
from her. Meeting a boy in tattered clothes, he changed with him,
gave the boy everything he had on except his ring, and put on rags,
to play the beggar. He proceeded to the brother’s house, and seeing
his wife sitting at a window, held out his hand, on which his ring was
sparkling, and asked an alms. His wife knew him at once by the ring,
and bade him come in. ‘Who are you?’ she asked. ‘Once I was a tsar,’
he said, ‘but my wife died, and I became a beggar.’ At this point the
brother arrived on the scene. The woman told Soliman to lie down on
the threshold; he did so, and she sat down on him. When her brother
came in she said, ‘Guess what I am sitting on.’ He answered, ‘On the
threshold.’ ‘Wrong,’ said she; ‘on Tsar Soliman.’ ‘If it is he,’ said
her brother, ‘I will cut his head off.’ But here Soliman suggested that
if the brother should take his head off on the spot, nobody would know
that he had killed a tsar; whereas if he would build a three-story
gallows and hang Soliman on it, all the world would see that he had
been the death of a tsar and not of a beggar. So a three-story gallows
was built, and as they were taking Soliman up to the first stage, he
said, Give me a horn, to cheer my heart for the last time. They gave
him a horn and he began to blow, Quick, quick, dear soldiers, for
my death and end is nigh. A black regiment set out for the place.
Bystanders said, Tsar Soliman, you are up high and see far: what is the
black thing coming along the hill? ‘My death, which gleams black in
the distance.’ Soliman mounted to the second stage and blew his horn
again: Quick, quick, dear soldiers, my death and end is nigh. He saw
a white regiment coming. The people said, Tsar Soliman, you are high
up and see far: what is that white thing which is coming? My death,
which gleams white in the distance. Then Soliman mounted to the third
stage and blew Quick, quick, dear soldiers, my death and end is nigh,
and he saw a red regiment coming. The people asked, what red thing was
coming. My death, which gleams red in the distance.[123] Then the black
regiment came up, after it the white, and finally the red; they slew
Soliman’s wife and her brother, took Soliman down from the gallows, and
rode home.
8. =Danish.= Through the friendly help of Dr. Axel Olrik I am now in a
position to say that there is one fundamental text =A=, in MSS of 1600
and 1615, from which all the others are derived. In the seventeenth
century =A= was expanded from forty to eighty-two couplets. =B=, the
original of the expanded copy, is found in a MS. of 1635; from =B= come
the other five later MS. texts, the flying-sheet of 1719, Kristensen’s
fragment, and some recent copies.
=A.= King David, after betrothing the incomparable Suol-far, has to go
on a cruise. He proposes that the lady stay with his mother while he is
away, but Suol-far does not like this arrangement. Then, says the king,
I shall bind your finger with gold, so that I can find you wherever you
may be. Hardly is King David gone, when King Adell rides up. Suol-far
is out of doors, brushing her hair; Adell asks if he may put a gold
crown on it. If God grants King David to come home with honor, she will
soon have a gold crown to wear, she says. Adell wishes to hear no more
of David, and asks Suol-far to plight herself to him; she will not, she
has given her troth to King David. Adell gives her sleeping potions
five, sleeping potions nine; she swoons, is taken to be dead, and is
buried in the church. Late in the evening Adell goes to the tomb; the
effect of the potions having passed off, Suol-far rises. Adell asks her
to go off with him, and after some tears Suol-far permits him to take
her away. It had been supposed that there was no witness, but a little
page was listening, and when King David came home the page gave him the
bad tidings that King Adell had carried Suol-far out of the country.
David goes in quest, disguised as a pilgrim. He finds the pair sitting
on a stone, resting their weary legs, and asks an alms. Adell gives
something, and Suol-far is at least about so to do, for David asks, Is
it not the way in this country to give money with bare hand? whereupon
she pulls off her glove and gives. David (seeing of course the token
on her finger) draws his sword and kills Adell. He then asks Suol-far
how she came to break her troth. Adell gave her nine drinks, which made
her fall dead to the earth, but, thank God, she had been kept from sin.
David loves her so dearly that he is easily satisfied; he orders his
wedding, and their troubles are over.
The flying-sheet of 1719 (in seventy-three couplets) exhibits some
differences. King David marries Sølfehr before he goes on his
expedition, and gives the land into Adel’s care during his absence.
After the queen has fallen aswoon in consequence of the nine drinks,
King Adel sends word to King David that she is dead. After the
interment, Adel remains in the church and digs up Sølfehr. He addresses
her as his dearest; she refuses to be so called. Adel tells her that
David is dead, and asks her if she will follow him out of the land.
She will follow him very willingly if she may hear of no grief to King
David (whatever that may mean), and Adel wraps her in a cloak and lifts
her on his gray. There had been watchmen in the church, and they tell
David that Adel is off with Sølfehr. David has pilgrim’s clothes made
for himself and many of his men. While asking alms, David gives the
queen to understand that he is her husband; then turning to Adel says,
I entrusted my kingdom to you, and did not look to be deceived. Upon
this he orders his troop to spare none of Adel’s men, and himself hews
Adel in pieces. The queen falls at his feet and begs forgiveness. The
easy king says, I know the fault was not thine, lifts her on his horse,
and goes home.
The two =Swedish= copies in Stephen’s collection are fragments of eight
and of fifteen stanzas. In the first (from Sødermanland), King David
having dug up the coffin and found it empty, disguises himself as a
pilgrim, and when asking an alms of Solfager says,
Travelled have I by water and land,
But never took alms from a gloved hand.
‘Who are you for a vagabond, that never took alms from a gloved hand?’
says Solfager. ‘Never was I a vagabond, but often have I kissed
Solfager’s hand,’ he replies. Solfager jumps into his arms, exclaiming,
I never can believe you are my former true-love.
In the other (from Småland), after the abduction of Solfager, David
takes staff in hand and goes to a strange land. He presents himself
where the pair are sitting at table, and asks an alms. Solfager gives
him alms once and twice, but the beggar is not satisfied. Needy
vagrant, she says, take alms where you can; insatiable vagrant, take
alms where you get most. I was no vagrant, he answers, when I put gold
rings on Solfager’s arm; I was no vagrant when I slept by Solfager. Her
tears come; she can never believe that he is David, her true-love. She
takes David in her arms. Praise to God, he cries, that I am still her
husband!
271. The Lord of Lorn and the False Steward.
P. 45. Other Russian popular tales in which the characteristic traits
of the group spoken of are well preserved: Afanasief, V, 178, No 37,
ed. 1861, I, 239, No 67 b, ed. 1873, ‘Tsarevitch i yevo Sluga;’
‘Korolevitch i yevo Djadka,’ the same, VIII, 170, No 18, ed. 1863,
I, 233, No 67 a, ed. 1873; Khudyakof, II, 33, No 44, ‘Udivitelny
Muzhitchek;’ the same, III, 143, No 115, ‘Muzhitchenko s Kulatchenko.’
A tsar’s son delivers a prisoner; is condemned to leave the country
with a servant (tutor, warden); having been let down into a well to
drink, is forced to change positions and clothes with his attendant;
serves as herdsman, horseboy, cook, the attendant aspiring to marry a
king’s daughter; destroys three dragons (a seven-headed monster in the
second, the fourth defective here); marries the princess, the servant
or tutor being put to death (baited with dogs in the third, set to work
in the stable in the fourth).[124]
Afanasief, IV, 72, ed. 1873, refers to other Russian versions, and
gives, p. 73 f., the Russian form of ‘The Goose-Girl.’
46 b. Add: (=F.=) Ivan Tsarevitch i Martha-Tsarevna, Afanasief, I,
227, No 21, 1863, I, 246, No 68, 1873. (=G.=) ‘Masenzhni Dzjadok,’
the same, V, 185, No 38, 1861, I, 254, No 69, 1873. (=H.=) ‘Kiósut,’
Sbornik of the Bulgarian Ministry of Education, III, II, 222. (=I.=)
‘Der Königssohn und der Bartlose,’ Hahn, Griechische u. Albanesische
Märchen, I, 233, No 37. (1.) The son of a king liberates a prisoner
(man of iron and copper, bird with human voice), =F=, =G= (stealing the
key from his mother, =G=). (2.) The prince is under the necessity of
leaving the country, =F-I= (is attended by a beardless man, =H=, =I=).
(3.) To get out of a well has to consent to change clothes and position
(with the beardless man, whom he had allowed to join him, or who had
been hired as horse-driver), =H=, =I=. (4.) King’s daughter (fair maid
with golden locks, =I=) aspired to by a low fellow, =F=, =H=, =I=. (5.)
Prince figures as stable-boy or scullion, =F=, =G=, =I=, kills three
dragons, =F=, defeats an army, =G=, accomplishes three tasks, =H=, =I=.
(6.) Prince marries princess, =F=, =G=, =H= (marries Golden Locks,
=I=), treacherous competitor banished, =F=, hanged, =H=, thrown into
boiling oil, =I=.[125]
274. Our Goodman.
P. 89 f. =French.= Add: La Tradition, VII, 145, Le Quercy.
275. Get up and bar the Door.
P. 95. Add two other Eastern stories: ‘The Farmer, his Wife and the
Open Door,’ in Swynnerton’s Indian Nights Entertainment, 1892, p. 14,
No 11; ‘The Beggar and the Five Muffins’ (of the second set), Folklore
in Southern India by Pandet Natêsá Sástrî, p. 277, No 22, and Tales of
the Sun, by Mrs Howard Kingscote and the same, p. 280, No 25. (Both
cited by Mr Clouston, in The Athenæum, March 18, 1893.)
To be Corrected in the Print.
I, 62, 68. =A.= The Jamieson-Brown MS. should be cited by pages, not by
folios. This correction applies also to Nos 6 =b=, 10 =B=, =a=, 32 =a=,
34 =B=, =a=, 35, 53, =A=, =C=, =a=, 62 =E=, 63 =B=, =a=, 65 =A=, 76
=D=, 82, 96 =A=, 97 =A=, =a=, 98 =A=, 99 =A=, 101 =A=, 103 =A=.
69 b, 61^1. _Read_ rauked.
138 a, =B c=, 11^2. I’ll. b, 26^1, 27^1, 28^1. _MS._ tune
(_copy wrong_).
305 b, notes, 10^1. tauchty, etc. _Drop._
342, 39^1. _Read_ what.
482 a, =D=. _Insert_ 13^2. bone.
II,
32 b, 6th line from below. _For_ =H= _read_ =J=.
101 b, 5th line of last paragraph. _Read_ II, 246.
101 b, last line but four. _Read_ II, 245.
128 b, 2d line of 2d paragraph. _Read_ =B= 18.
169 a, last line but two. _Supply_ =A= _before_ 2^4.
234 a, 5th line. larf _is dropped in Herd II_.
316 a, notes, 6^2. _Read_ bowers.
367 a, =C= 34^6. _The MS. reading is_ dead syne.
373 b, 21^2. _Read_ grey.
429 a, last line but three of text. _Read 80 for 83._
477 a, =D=. _All the variations except 11^1, 14^4, apply to_ =C=,
_not to_ =D=.
III,
11 b, last line but two. _Supply_ =C= _before 4^3_.
49 a, 12th line. _Read_ alcaldes.
51 b, last two lines. _Read_ (extracted from Histoire Litt. de la
France, XXX), p. 49.
122 b, 6th line. _Read_ No 135.
146 a, 14^3. _Read_ delt _for_ felt (felt, _all copies_).
179 b, 5^2. _Read_ clutt _for_ cliitt.
183 a, notes, =A= 5^2. _Add_: clutt was no doubt intended.
230, 59^3. _Read_ kickle.
230, 70^2. _Read_ For which.
232, 108^1. _Read_ unpossible.
232, 116^3. _Read_ leave out.
477 a, line 6. _Read_ Laird’s.
516 a, 95, line 7. _Read_ Birkbeck.
517 b, last paragraph of 96, last line but one. _Read_ des.
518 b. The notes to III, 44 belong under No 117.
IV,
33 a, last line but one. _Read_ 10^3.
44 b, 9^2. _Read_ as he.
254 b, notes. _For_ =J= _read_ =K=.
275 a, =B b=, 6^1. _Read_ white-milk.
281 a, 2^2. _Read_ and bane.
282 a, 3^2. _Read_ behind my.
288 a, =E=, 3^4. _Read_ toss. =F= is in the handwriting of John Hill
Burton.
290 b, line 6. _Read_ 7^3.
291 b, notes, =E=, 3^4. _Drop._
331 b, 8^1. _Read_ out _for_ not.
339 b, lines 5, 6. _Read_ Belhelvie, the name of an Aberdeenshire
parish.
387 b, last line but one of note. _Read_ owes its.
392, 21^1. _Read_ you _for_ yon.
408 a, notes, =A=, 2d line. _Read_ 22^4, 33^4. _Cf._ 13^4.
437 b, 25^1. _Read_ Well fells.
440 b, 4, 3d paragraph, line 3. _Read_ Coussemaker.
447 b, note to 5, after st. 17. _Read_ in =a=.
455 a, 3^4. _Read_ wi gowd.
470 a, 20^2, 21^2. _Read_ A’.
471 a, 37^2, 38^4. _Read_ A’.
481 a, =I=, 1^1. _Read_ your hand.
499 b, line 8 from below. _Insert the title_, ‘The Battle of
Otterburn.’
513 b, =AA=, line 4. _Read_ my heir.
514 b, 18^1. _Read_ Out then.
516 a, =B b=, 4^2. _Read_ that _for_ thus.
524 a, 3d line. _Read_ George Mitchell.
525 a, IV, 34 b, =B=. _Omit the second sentence._
Trivial Corrections of Spelling.
I,
138 a, =B c=, 5^2. _Read_ brest.
II,
129 b, 21^2. _Read_ saft.
191 a, 18^3. _Read_ of.
191 a, 19^1. _Read_ on.
191 a, 25^3. _Read_ our.
314 a, =D= 1^2. _Read_ wi.
315 a, =D= 8^4. _Read_ mak.
372 b, notes, 7^{5,6}, lines 1, 3, 4. _Read_ her.
373 a, 14^1. _Read_ spak.
373 b, 16^{3,4}, 1st line. _Read_ her.
III,
183 a, =A= 5^2. _Read_ cliitt.
IV,
260 a, 7^3. _Read_ Hielands.
275 a, =B b=, 6^2. _Read_ over: over.
275 a, =B b=, 7^4. _Read_ son, were.
297 a, 11^1. _Read_ ladie.
312 b, 9^1. _Read_ o gold.
312 b, 10^{1,2}. _Read_ steppet, walket.
371 a, 7^3. _Read_ hale.
372 b, 17^2. _Read_ hame.
387 a, 1^1. _Read_ brent is.
444 b, 1^3. _Read_ bringin.
454 a, line 8. _Read_ ravns.
456 a, 8^2. _Read_ bleam.
461 b, 22^1. _Read_ But.
464 a, 6^1. _Read_ when.
468 b, 5^3. _Read_ yow.
470 a, 20^1. _Read_ four-a-twontie.
470 a, 21^1. _Read_ four-an-twontie.
473 b, 42^1. _Read_ cri’d.
479, 7^2. _Read_ we.
493, 17^4, 20^3. _Read_ weddet, mintet.
516 a, =B=, between 5^2 and 5^3. _Read_ yow took, Yow promisd.
* * * * *
Supplementary.
I,
303, =D= 5, taipy-tapples. The MS. has saipy-sapples.
V,
18 a. _For_ =C= _read_ =c=.
79 b, 2d st. _Read_ 26.
81 b, 11. _Read_ play thee, great.
151 a. _Insert_ =F= before the last version.
FOOTNOTES:
[123] In the original, apparently by exchange of like sounding words,
My death which is cut short; that is, I suppose, prevented or postponed.
[124] I have to thank Professor Wollner for giving me in translation
the two tales from Afanasief and a Bulgarian tale presently to be
mentioned.
[125] In the Greek tale, =I=, the prince confides his trouble to an old
lame horse. The coincidence here with the ballad does not go very far,
and may be an accident, but may be more than that.
ADDITIONS AND CORRECTIONS[126]
VOL. I.
1. Riddles Wisely Expounded.
P. 1. Rawlinson MS. D. 328, fol. 174 b., Bodleian Library.
I was unaware of the existence of this very important copy until it was
pointed out to me by my friend Professor Theodor Vetter, of Zürich,
to whom I have been in other ways greatly indebted. It is from a book
acquired by Walter Pollard, of Plymouth, in the 23d year of Henry VI,
1444-5, and the handwriting is thought to authorize the conclusion that
the verses were copied into the book not long after. The parties are
the fiend and a maid, as in =C=, =D=, which are hereby evinced to be
earlier than =A=, =B=. The “good ending” of =A=, =B=, is manifestly
a modern perversion, and the reply to the last question in =A=, =D=,
‘The Devil is worse than eer woman was,’ gains greatly in point when we
understand who the so-called knight really is. We observe that in the
fifteenth century version, 12, the fiend threatens rather than promises
that the maid shall be his: and so in =E=, V, 205.
Int_er_ diabolus et virgo.
1
Wol ȝe her_e_ a wonder thyng_e_
Betwyxt a mayd _and_ þe fovle fende?
2
Thys spake þe fend to þe mayd:
‘Beleue on me, mayd, to day.
3
‘Mayd, mote y thi leman be,
Wyssedom y woll_e_ teche the:
4
‘All þe wyssedom off the world,
Hyf þ_o_u wolt be true _and_ forward holde.
5
‘What ys hyer þan ys [þe] tre?
What ys dypper þan ys the see?
6
‘What ys scharpper þan ys þe þorne?
What ys loder þan ys þe horne?
7
‘What [ys] longger þan ys þe way?
What is rader þan ys þe day?
8
‘What [ys] bether than is þe bred?
What ys scharpper than ys þe dede?
9
‘What ys grenn_er_ þan ys þe wode?
What ys swett_er_ þan ys þe note?
10
‘What ys swift_er_ þan ys the wynd?
What ys rech_er_ þan ys þe kyng_e_?
11
‘What ys ȝelu_er_ þan ys þe wex?
What [ys] soft_er_ þan ys þe flex?
12
‘But þ_o_u now answery me,
Thu schalt for soþe my leman be.’
13
‘Ih_es_u, for þy myld myȝth,
As thu art kyng_e_ and knyȝt,
14
‘Lene me wisdome to answere her_e_ ryȝth,
And schylde me fram the fovle wyȝth!
15
‘Hewen_e_ ys heyer than ys the tre,
Helle ys dypper þan ys the see.
16
‘Hongyr ys scharpp_er_ than [ys] þe thorne,
Þonder ys lodder than ys þe horne.
17
‘Loukyng_e_ ys long_er_ than ys þe way,
Syn ys rader þan ys the day.
18
‘Godys flesse ys bet_ur_ þan ys the brede,
Payne ys streng_er_ þan ys þe dede.
19
‘Gras ys grenn_er_ þan ys þe wode.
Loue ys swett_er_ þan ys the notte.
20
‘Þowt ys swift_er_ þan ys the wynde,
Ih_esus_ ys recher þan ys the kyng_e_.
21
‘Safer is ȝelu_er_ than ys the wexs,
Selke ys soft_er_ þan ys the flex.
22
‘Now, thu fende, _st_yl thu be;
Nell_e_ ich speke no mor_e_ w_i_t_h_ the!
2^2. Be leue.
3^1. the leman.
3^2. theche.
13^2. k_n_yȝt _seems to be altered to_ knyt.
14^2. fold: cf. 1^2.
19^2. lowe.
Pollarde _is written in the left margin of 22^1. and_ WALTERVS
POLLARD _below the last line of the piece_.
[‘Inter Diabolus et Virgo’ is printed by Dr Furnivall in Englische
Studien, XXIII, 444, 445, March, 1897.]
P. 2 f., 484 a, II, 495 a, IV, 439 a. Slavic riddle-ballads. Add:
Romanov, I, 420, No 163 (White Russian).
2. The Elfin Knight.
P. 7. Of the custom of a maid’s making a shirt for her betrothed, see
L. Pineau in Revue des Traditions Populaires, XI, 68. A man’s asking
a maid to sew him a shirt is equivalent to asking for her love, and
her consent to sew the shirt to an acceptance of the suitor. See, for
examples, Grundtvig, III, 918. When the Elf in ‘Elveskud,’ =D= 9,
Grundtvig, II, 116, offers to give Ole a shirt of silk, it is meant as
a love-token; Ole replies that his true love had already given him one.
The shirt demanded by the Elfin Knight may be fairly understood to have
this significance, as Grundtvig has suggested. So, possibly, in ‘Clerk
Colvill,’ No 42, =A= 5, I, 387, considering the relation of ‘Clerk
Colvill’ and ‘Elveskud.’ We have silken sarks sewn by a lady’s hand in
several other ballads which pass as simple credentials; as in ‘Johnie
Scot,’ No 99, =A= 12, 13, =D= 6, =E= 2, =H= 4, 5, II, 379, 385, 389;
etc. Here they may have been given originally in troth-plight: but not
in ‘Child Maurice,’ No 83, =D= 7, =F= 9, II, 269, 272.
7, 8, 484 a, II, 495 a, III, 496 a, IV, 439 a, V, 205 b. Add: ‘Les
Conditions impossibles,’ Beauquier, Chansons p. recueillies en
Franche-Comté, p. 133.
=White Russian.= Šejn, Materialy, I, I, 494, No 608 (shirt, etc.).
=Croatian=, Marjanović, ‘Dar i uzdarje,’ p. 200, No 46.
8 ff. Questions and tasks offset by other questions and requisitions in
the Babylonian Talmud. See Singer, Sagengeschichtliche Parallelen aus
dem babylonischen Talmud, Zeitschrift des Vereins für Volkskunde, II,
296.
11, note *, 12. The story of the two mares is No 48 of R. Schmidt’s
translation of the Çukasaptati, p. 68 ff.; that of the staff of which
the two ends were to be distinguished, No 49, p. 70 f. The Clever
Wench (daughter of a minister) appears in No 52, p. 73 ff., with some
diversities from the tale noted at p. 12 b, 2d paragraph. More as to
the Clever Wench in R. Köhler’s notes to L. Gonzenbach’s Sicilianische
Märchen, now published by J. Bolte in Zeitschrift des Vereins für
Volkskunde, VI, 59. [See also Radloff, Proben der Volkslitteratur der
nördlichen türkischen Stämme, VI, 191-202.]
17 f., 484 f., II, 495 f., IV, 439 f., V, 206. The Journal of American
Folk-Lore, VII, 228 f., gives the following version, contributed by
Miss Gertrude Decrow of Boston, in whose family the song has been
traditional.
1
As I walked out in yonder dell,
Let ev’ry rose grow merry in time
I met a fair damsel, her name it was Nell,
I said, ‘Will you be a true lover of mine?
2
‘I want you to make me a cambric shirt
Without any seam or needlework,
And then you shall be, etc.
3
‘I want you to wash it on yonder hill,
Where dew never was nor rain never fell.
4
‘I want you to dry it on yonder thorn,
Where tree never blossomed since Adam was born.’
5
‘And since you have asked three questions of me,
Let ev’ry rose grow merry in time
Now and I will ask as many of thee,
And then I will be a true lover of thine.
6
‘I want you to buy me an acre of land
Between the salt sea and the sea-sand,
And then, etc.
7
‘I want you to plough it with an ox’s horn,
And plant it all over with one kernel of corn.
8
‘I want you to hoe it with a peacock’s feather,
And thrash it all out with the sting of an adder,
And then,’ etc.
19 =J.= At p. 229 of the same are these stanzas from a version
contributed by Mrs. Sarah Bridge Farmer, as learned from an elderly
lady born in Beverly, Massachusetts.
Can’t you show me the way to Cape Ann?
Parsley and sage, rosemary and thyme
Remember me to a young woman that’s there,
In token she’s been a true lover of mine.
(“The requirements which follow are identical with those of the
previous version. There is an additional stanza:”--)
And when he has done, and finished his work,
If he’ll come unto me, he shall have his shirt,
And then he shall be, etc.
The copy in The Denham Tracts, II, 358, from D. D. Dixon’s tractate on
The Vale of Whittingham, Newcastle-upon-Tyne, 1887, has been given from
elsewhere at II, 495.
4. Lady Isabel and the Elf-Knight.
P. 25, =B=. Een Liedeken van den Heere van Haelewyn, with trifling
verbal differences from Hoffmann’s text, in Oude Liedekens in Bladeren,
L. van Paemel, No 25. The copy in Nederlandsch Liederboek, Gent, 1892,
II, 1, No 44, ‘Van Heer Halewijn,’ is Willems’s.
27 a, 32 a, 37 b, 487 b. Lausen des Kopfes durch das Mädchen: notes by
R. Köhler to L. Gonzenbach’s Sicilianische Märchen, now published by J.
Bolte, Zeitschrift des Vereins für Volkskunde, VI, 62. [Cf. Georgeakis
et Pineau, Folk-lore de Lesbos, p. 257.]
29-37, 486 a, III, 497 a, IV, 441 a, V, 206 f. =GG=, =HH=,’Der Ritter
im Walde,’ Herrmann u. Pogatschnigg, Deutsche V.-L. aus Kärnten,
Salon-Ausgabe, p. 33; ‘Es ritt ein Räuber wohl über den Rhein,’
Wolfram, Nassauische Volkslieder, p. 61, No 33, resemble =N-R=:
Liedlein von dreierlei Stimmen; eleven (two) warning doves, three
cries, to father, mother, brother; huntsman-brother rescues sister and
disposes of the knight or robber.
Böhme, in his edition of Erk’s Deutscher Liederhort, I, 118-146, 1893,
prints twenty German versions under numbers 41, 42. Of these 41^i,
42^k, 42^i are of oral derivation, and 42^h is from Erk’s papers.
Böhme notes two other copies taken down from singing, and one in MS.,
which he does not give. Judging by what has been given, what has been
withheld must be of trifling value.
486 a, V, 207 a, =DD=. So ‘Als die wunderschöne Anna auf dem
Brautstuhle sass,’ Wolfram, p. 66 f., No 39 a; and No 39 b, which
is even worse preserved. Again, ‘Die wunderschöne Anna auf dem
Rheinsteine,’ K. Becker, Rheinischer Volksliederborn, p. 20, No 17.
37 f., =A=. Add: ‘Der Reiter u. die Kaiserstochter,’ =K=. Becker,
Rheinischer Volksliederborn, p. 15, No 12.
41-44, III, 497 b, V, 207 a. Pair (or one of a pair) riding a long way
without speaking. Add: ‘Los dos hermanos,’ Milá, Romancerillo catalan,
2d ed., p. 234, No 250: “Siete leguas caminaron, palabra no se decian.”
Add also: Afzelius (1880), I, 21, st. 22.
42 a, 488 a. Six =Ruthenian= copies (in two of which the girl is a
Jewess), Kolberg, Pokucie, II, 20-25, Nos 21-26. =White Russian=
versions of the ballad of the Jewess in Šejn, I, I, 490 f., Nos 604,
605; Romanov, I, II, 199, No 46.
P. 50, note ‖; IV, 441 b. Leprosy cured by (children’s) blood. See
G. Rua, Novelle del “Mambriano,” pp. 84, 88 ff. The story about
Constantine’s leprosy (Reali di Francia, lib. 1, c. 1) occurs also in
Higden’s Polychronicon, Lumby, V, 122 ff., and in Gower, Confessio
Amantis, bk. II, Pauli, I, 266 ff. See also Ben Jonson, Discoveries,
ed. Schelling, p. 35 (G. L. K. and W. P. Few). [See Prym u. Socin,
Kurdische Sammlungen, pp. 35, 36. H. von Wlislocki, M. u. S. der
Bukowinaer u. Siebenbürger Armenier, pp. 60, 61. The latter gives a
number of references for the story about Constantine. Cf. also Dames,
Balochi Tales, No 2, in Folk-Lore, III, 518.]
IV, 441 b, 3d paragraph. Another ballad (White Russian) in which the
girl is burned, Šejn, Materialy, I, I, 492, No 606.
57. =D a= was derived “from the housekeeper at Methven.” Sharpe’s
Ballad Book, ed. 1880, p. 130.
IV, 442 a, 1st paragraph. Both hands are of the 18th century.
5. Gil Brenton.
P. 67. What is said of the _bilwiz_ must be understood of the original
conception. Grimm notes that this sprite, and others, lose their
friendly character in later days and come to be regarded as purely
malicious. See also E. Mogk in Paul’s Grundriss der germ. Philologie,
I, 1019.
72. Splendid ships. See also Richard Coer de Lion, 60-72, Weber’s
Metrical Romances, II, 5 f.; Mélusine, II, 438 f.
Some of the French ships prepared for the invasion of England in 1386
had the masts from foot to cap covered with leaves of fine gold:
Froissart, ed. Buchon, X, 169. King Henry the Eighth in 1544 passed the
seas in a ship with sails of cloth of gold: Lord Herbert of Cherbury,
Life and Raigne of King Henry the Eighth, 1649, p. 513. When Thomas
Cavendish went up the Thames in 1589, his seamen and soldiers were
clothed in silk, his sails were of damask, “his top-masts cloth of
gold.” Birch, Memoirs of the Reign of Q. Elizabeth, 1754, I, 57.
6. Willie’s Lady.
P. 82 ff. Hindering childbirth. Notes by R. Köhler to Laura
Gonzenbach’s Sicilianische Märchen, now published by J. Bolte,
Zeitschrift des Vereins für Volkskunde, VI, 63.
7. Earl Brand.
[P. 95 f, 489 b, III, 498 a, IV, 443 a. Death-naming, etc. See also W.
R. Paton, Holy Names of the Eleusinian Priests, International Folk-lore
Congress, 1891, Papers and Transactions, p. 202 ff.]
96 f., 489 f, II, 498, III, 498, IV, 443, V, 207.
=Swedish.= Cf. Kristensen, Jyske Folkeminder, XI, 293.
=Romaic.= See Ζωγραρεῖος Ἀγών, p. 170, No 321. [Georgeakis et Pineau,
Folk-lore de Lesbos, pp. 208, 221.]
=Italo-Albanian.= De Grazia, Canti pop. albanesi, p. 102, No 11.
[=Turkish.= Sora Chenim went down into the grave of Täji Pascha,
which opened to receive her. The “black heathen” ordered one of his
slaves to slay him and bury him between the two. “Da wuchs Täji Pascha
als eine Pappel aus dem Boden hervor, Sora Chenim wuchs als ein
Rosenstrauch hervor. Zwischen diesen Beiden wuchs der schwarze Heide
als ein Dornbusch hervor,” etc. Radloff, Proben der Volkslitteratur der
nördlichen türkischen Stämme, VI, 246.]
100. Looking over the left shoulder. I, 100 f., =A= 21, =B= 4; 103, =E=
1; 464, 21; 490, 14 (left collar-bane); 492, 3; III, 259, 20; 263, 20;
264, 24; 339, 7; 368, 11; 369, 13; 413, 37; 465, 35; 488, 32; 13, 13;
15, 18; 17, 8; 18, 4; 20, 6; 52, 5; 135, 24; 445, 11; 518, 9; 519, 10;
520, 9. [In IV, 11, 21, it is the right shoulder.]
At I, 464, III, 259, 263 f., 339, 368 f, 413, IV, 135, the person
looking over the left shoulder is angry, vexed, or grieved; in the
other cases, no particular state of feeling is to be remarked.
Undoubtedly the look over the left shoulder had originally more
significance, since, under certain conditions, it gave the power
of seeing spectres, or future events (but looking over the right
shoulder had much the same effect). See A. Kuhn, Sagen, u. s. w., aus
Westfalen, I, 187, No 206, and his references; and especially Bolte, in
Zeitschrift des Vereins für Volkskunde, VI, 205-07 (using R. Köhler’s
notes). After sowing hemp-seed in the Hallowe’en rite, you look over
your left shoulder to see your destined lass or lad. See note to
Burns’s Hallowe’en, st. 16.
10. The Twa Sisters.
P. 124 a, 4th paragraph. The ballad in Schlegel’s Reisen is simply a
threnody in Esthonian marriage ceremonies over the carrying away of the
bride to her husband’s house, and is not to the point.
125, 493 b, II, 498 b, III, 499 a, IV, 447 b, V, 208 b. ‘L’os qui
chante:’ M. Eugène Monseur has continued his study of this tale in
Bulletin de Folklore, I, 39-51, 89-149, II, 219-41, 245-51. See also
Bugiel in Wisła, VII, 339-61, 557-80, 665-85.
[See also ‘Die Geschichte von zwei Freunden,’ Socin u. Stumme, Dialekt
der Ho͜uwāra des Wād Sūs in Marokko, pp. 53, 115, Abhandlungen der
Phil.-hist. Classe der K. Sächs. Gesellschaft der Wissenschaften, XV.]
[On disclosure by musical instruments see Revue Celtique, II, 199;
Hartland, Legend of Perseus, I, 193. F. N. Robinson.]
126 a. [For a parallel to the South African tale see Jacottet, Contes
pop. des Bassoutos, p. 52.]
126 b. =C= is also translated by H. Schubart in Arnim’s Tröst
Einsamkeit, 1808, p. 146.
11. The Cruel Brother.
P. 144 a. For ‘Frau von Weissenburg,’ ‘Frau von der Löwenburg,’ ‘Junker
Hans Steutlinger,’ see Erk, ed. Böhme, Nos. 102, 103, I, 360 ff.
144 b, 2d paragraph, V, 208 b. Add: ‘Le Testament du Chien,’ Bédier,
Les Fabliaux, 2d ed., p. 473; ‘Testament de la vieille Jument,’
‘de la vieille Truie,’ ‘de la Chèvre,’ Luzel, Chansons pop. de la
Basse-Bretagne, II, 88-97. ‘The Robin’s Last Will,’ Miss M. H. Mason’s
Nursery Rhymes and Country Songs, p. 41.
12. Lord Randal.
P. 153 a. =German.= Two other copies in Böhme’s Erk, No 190 b, I, 582.
[154 a; IV, 449 b. =Danish.= ‘Den forgivne Datter,’ Grundtvig-Olrik,
No 341, Ridderviser, I, 146 ff., two versions: =A==Kristensen, Jyske
Folkeminder, No 92, X, 358; =B=, that communicated to Professor Child
by Professor Grundtvig and mentioned in I, 154. Olrik mentions 7
=Swedish= copies, 5 of them unprinted.]
156 a, III, 499 b, V, 208 b. ‘Donna Lombarda.’ See Archivio, X,
380. [See also ‘Utro Fæstemø vil forgive sin Fæstemand,’ in the
Grundtvig-Olrik collection, No 345, Ridderviser I, 165 ff., 3 versions
=A-C= (=A=, =B=, from MS. sources going back in part to the 16th
century; =C=, from oral tradition, printed by Kristensen, Jyske
Folkeminder, No 19, I, 49, No 56, X, 234). Olrik, in an elaborate
introduction, studies the relations of the Danish ballad (which is
found also in Norse, Bugge’s MS. collections, No. 221) to ‘Donna
Lombarda’ and to the history of the sixth century Lombard queen
Rosemunda. He opposes the views of Gaston Paris, Journal des Savants,
1889, pp. 616 ff., and holds that ‘Donna Lombarda,’ ‘Utro Fæstemø,’
(his No 345), ‘Giftblandersken’ (his No 344), ‘Fru Gundela’ (see above
I, 156 b), and the Slavic ballads of the sister who poisons her brother
at the instigation of her lover, are all derived from the _saga_ of
Rosemunda. He even regards ‘Old Robin of Portingale,’ No 80, II, 240,
as related to the ‘Utro Fæstemø.’ See below, p. 295.]
156 b, 499 a, II, 499 a, III, 499. The ballad of the maid who
poisons her brother and is rejected by the man she expects to win
in Lithuanian, Bartsch, Dainu Balsai, I, 172 ff., No 123 a, b. More
ballads of poisoning, sister poisoning brother at the instance of
her lover, girl poisoning her lover, and at col. 306 one resembling
Lord Randal, Herrmann, Ethnologische Mitteilungen aus Ungarn, I, cols
292-308 (with an extensive bibliography). Herrmann’s collections upon
this theme are continued from cols 89-95, 203-11. [Cf. the Danish
ballad ‘Tule Slet, Ove Knar og Fru Magnild,’ Grundtvig-Olrik, No. 350,
Ridderviser, I, 186, where, however, the murderess uses a knife.]
157. Compare, for dialogue and repetition, the Catalan ballad ‘El Conde
Arnau,’ Milá, Romancerillo, No 78, p. 67; where, however, the first
half of the third line is also regularly repeated in the fourth.
‘¿Tota sola feu la vetlla, muller lleyal?
¿Tota sola feu la vetlla, viudeta igual?’
‘No la faig yo tota sola, Comte l’Arnau,
No la faig yo tota sola, valga ’m Deu, val!’
157 b. =A= is translated by Professor Emilio Teza. ‘L’Avvelenatrice,
Canzone Boema,’ Padova, 1891, p. 12. [Atti e Memorie della R. Accademia
di Scienze, Lettere ed Arti in Padova, Nuova Serie, VII, 234.]
13. Edward.
P. 167, 501 b, III, 499 b, V, 209 b. ‘Svend i Rosensgaard’ is No 340
in the Grundtvig-Olrik collection of Danish ballads, Ridderviser, I,
142. Danish versions are limited to three, of which the second is a
fragment and the third a copy from Norway in all but pure Danish. Of
Swedish versions eleven are enumerated, besides a half-comic copy from
a manuscript of 1640, or older, which is spun out to 33 stanzas. As
before remarked, a palpable tendency to parody is visible in some of
the Scandinavian specimens.
14. Babylon, or, The Bonnie Banks o Fordie.
P. 170, 501 b, II, 499 a, III, 499 f., IV, 450 a, V, 209 b. ‘Hr.
Truelses Døtre’ is No 338 of the Danish ballads in the continuation of
Grundtvig’s collection by Dr. Axel Olrik, Danske Ridderviser, 1895, I,
114, where the ballad is subjected to a minute study. The existence of
a ballad is mentioned in 1624, and indicated as early as 1598. There
are Danish, Swedish, and Icelandic versions of the 17th century, and
numerous later copies, Danish, Swedish, Norwegian, and Färöe: Danish,
in all, 10, one of the 17th century; Swedish 12, 4 of the 17th century;
Norwegian 6; Färöe 4. Five of the Norwegian copies take the direction
of the Icelandic and Färöe in the treatment of the story. Two varieties
of the ballad may be specially distinguished: one in which we have
the miracle of a light burning or a fountain (fountains) springing
over the place where the maids were murdered (called by Olrik the
legendary form), the other in which the career and fate of the sons are
made prominent. The “legendary” versions are the older. In these the
maids are regarded as martyrs, and popular religious observances in
connection with the miraculous fountains and in commemoration of the
murdered maids have been kept up into the present century. The story
is localized in not less than thirteen Danish accounts and others in
Sweden.
II, 499 a, III, 500, V, 209 b. Add to the French ballads a copy, which
has lost still more of the characteristic traits, obtained by M.
Couraye du Parc in Basse-Normandie: Études romanes dédiées à Gaston
Paris, 1891, p. 47, No 10.
II, 499 a. A Ruthenian story like that of the Great Russian ballad in
Kolberg, Pokucie, II, 30, No 33.
15. Leesome Brand.
Pp. 181, 502 a. =German.= Add: Böhme, Erk’s Liederhort, I, 592 f., ‘Der
Reiter und seine Geliebte,’ No 194 b, from Erk’s papers, c, from oral
tradition (fragments). Böckel, ‘Das Begräbniss im Walde,’ p. 33, No 47.
‘Es gingen zwei Liebchen durch einen grünen Wald,’ Wolfram, p. 89, No
63.
17. Hind Horn.
[P. 188 b. ‘Horn Child.’ See the edition by J. Caro, in Englische
Studien, XII, 323 ff.]
190 a. Hereward will not drink unless the princess presents the cup:
very like Horn here. Michel, Chroniques Anglo-Normandes, II, 18 f.
191, note *. Blonde of Oxford (Jehan et Blonde). See Suchier’s edition,
Œuvres poétiques de Philippe de Remi, Sire de Beaumanoir, II, 89, 99,
103.
193 a. That Horn Child, though much more modern in its present form
than the Gest, “would seem to have been formed on a still older model”
was suggested by T. Wright in 1835, and was the opinion of J. Grimm and
of Ferdinand Wolf. Wolf maintains that Horn Child was the work of a
popular jongleur, or vagrant minstrel, and that for this reason Chaucer
put it among the “romances of prys,” which are mentioned in Sir Thopas.
Anyway, this must have been the form of the story which was known to
Chaucer. Wolf, Ueber die Lais, p. 217 f.
195 a (3). Oude Liedekens in Bladeren, L. van Paemel, No 28==Hoffmann,
No 2.
199 a. Albanian. De Grazie, Canti p. albanesi, p. 118.
199 a, note *. Ring in betrothal. So in Twelfth Night, IV, 3, as Prior
remarks, II, 277, _apropos_ of ‘Axel and Walborg’, st. 44.
201, note. These talismans also in India: Tawney’s Kathá-Sarit-Ságara,
II, 161.
502 b, 5th paragraph, III, 501 b, IV, 450 b. Add: Kolberg, Lud, IV,
23, No 146; VI, 166 f., No 332; XII, 115-118, Nos 221-224 (jumps seven
tables and touches the eighth); XVI, 271, No 438; XVI, 272, No 440;
Valjavec, p. 300, No 17; Kolberg, Mazowsze, II, 109, No 251. A soldier
comes back after seven years’ absence to his “widow;” drops ring into
cup, and is recognized as her husband. Lud, XXI, 61, No 123.
20. The Cruel Mother.
P. 219 b, 504 a, II, 500 a, IV, 451 a, V, 212 a. Add: =T=, Wolfram, p.
90, No 64, ‘Es hütet ein Schäfer an jenem Rain,’ ‘Die Rabenmutter;’
Böhme’s edition of Erk’s Liederhort, I, 636, No 212 e; and to the
literature several items at p. 637.
219 b, III, 502 b. Similar Slavic ballads: Polish, Kolberg, Lud, IV,
52, No 220; XII, 308 f., Nos 611, 612; XVII, 9, No 17; XVIII, 188, No
346; XXI, 85, No 179; XXII, 160, No 284; Kolberg, Mazowsze, II, 160,
No 352; IV, 366, No 436.
P. 220. =C=, sts 9, 10, 11 are in Motherwell’s MS., p. 183, written in
pencil.
21. The Maid and the Palmer.
P. 228 b, 2d paragraph. The Finnish ballad was first printed by C. A.
Gottlund, Otava, 1832, II, 9 (Rolland, Chansons Populaires, VI, 47-50,
with a translation).
230 f., III, 502 b, IV, 451 b. White Russian versions, Šejn, II, 607
ff., Nos 12-16, ‘Pesn’ o grěšnoj děvě, Song of the sinful girl,’ five
copies, the third imperfect. Jesus sends the girl to church, in the
first the earth comes up seven cubits, the lights go out, etc.; she
shrives herself, and things are as before. In the other copies she
crumbles to dust. Polish (with variations), Kolberg, Lud; XII, 309,
No 613; XIX, 187, No 658; XX, 101, No 37; XXI, 86, No 180; XXII, 161
f., Nos 285, 286; Kolberg, Mazowsze, I, 142, No 46; IV, 367, No 437;
Siarkowski, in Zbiór wiadomości, IV, 94, No 18.
231 a. Legend of the Magdalen unmixed. =Italian=, Archivio, XIV, 211
f., ‘Maria Maddalena,’ two copies, fragmentary. In the second, Maria
asks the master of a vessel to take her in; a tempest arises; the dona
pecatrice, lest the vessel should founder on her account, with many
people aboard, throws herself into the sea, is swallowed by a whale,
and not disgorged for three-and-thirty years.
22. St. Stephen and Herod.
P. 236 a, last paragraph. Here, and in other places in volumes I, II,
Catalan is treated as if it were a dialect of Spanish. The corrections
required are as follows: I, 236 a, last paragraph, 384 a, 2d par., 505
a, 2d par.; II, 174 a, 2d par., 347 a, 2d par., 512 a, No 72, read
_Catalan_ for _Spanish_, and I, 384 a, 2d par., drop =K=. I, 462 a, 3d
par., read _Catalan_ for =C=. II, 69 a, 7th line, 113 b, 11th line,
158, 2d par., read _Spanish and Catalan_, and at the last place insert
_Catalan_ before the 3d and 4th citations and transfer them to the end.
237, III, 502 b. The Breton story with the miraculous sustentation
of the maid (but without the marvel of the capon): Böhme’s Erk, I,
637 ff., No 213 a, ‘Die Weismutter,’ b, ‘Die unschuldig gehangene
und gerettete Dienstmagd,’ and note to b; Wolfram, p. 38, No 10, ‘Zu
Frankfurt steht ein Wirtshaus.’
240 f., 505 f., II, 501 b, IV, 451 f. Joie des Bestes. Add: Marin,
Cantos Populares, I, 61, No 124; Iglesia, El Idioma Gallego (‘a
maldicion d’a ovella’), cf. II, 8, note †, III, 174, both cited by
Munthe.
240, 241, 505 b, II, 501 b, III, 502 b, IV, 452 a, V, 212 a. A roast
pheasant gets feathers and flies away in attestation of a tale: M.
Wardrop, Georgian Folk-tales, p. 10 f., No 2. G. L. K.
Fish flying out of the pan. See Wesselofsky, Archiv f. slavische
Philologie, VI, 574.
241 b. Herod’s questions. Compare Bergström and Nordlander, 98, 3;
Pidal, p. 128.
23. Judas.
[P. 243 b. Trinity College MS. B, 14, 39, has been recovered, and
Professor Skeat has had the kindness to furnish a copy of the ballad.
Wright’s text proves to be in all essentials accurate; but, on account
of the age and great interest of the poem, Professor Skeat’s copy is
here reproduced. The ballad has no title in the MS.
Hit wes upon a scereþorsday þat vre louerd aros.
ful milde were þe wordes he spec to iudas.
iudas þou most to iurselem oure mete for to bugge.
þritti platen of selu_er_ þou bere up oþi rugge.
þou comest fer iþe brode stret fer iþe brode strete. 5
su_m_me of þine tunesmen þer þou meist i mete.
imette wid is soster þe swikele wimon.
iudas þou were wrþe me stende the wid ston. .íí.
for the false prophete þat tou bileuest upon.
Be stille leue soster þin herte þe to breke. 10
wiste min louerd c_ri_st ful wel he wolde be wreke.
Iudas go þou on þe roc heie up on þe ston.
lei þin heued i my barm slep þou þe anon.
Sone so iudas of slepe was awake.
þritti platen of selu_er_ from hym weren itake. 15
He drou hym selue bi þe cop þat al it lauede ablode.
þe iewes out of iurselem awenden he were wode.
Foret hym com þe riche ieu þat heiste pilatus.
wolte sulle þi louerd þat hette iesus.
I nul sulle my louerd for nones cunnes eiste. 20
bote hit be for þe þritti platen. þat he me bi taiste.
Wolte sulle þi lord c_ri_st for enes cu_n_nes golde.
Nay bote hit be for þe platen. þat he habben wolde.
In him com ur lord * gon as is postles seten at mete.
Wou sitte y_e_ postles a_n_t wi nule ye ete. .íí. 25
ic am iboust a_n_t isold to day for oure mete.
Vp stod him iudas lord am i þat
I nas neu_er_ oþe stude þer me þe euel spec.
Vp him stod peter a_n_t spec wid al is miste.
þau pilatus him come wid ten hu_n_dred cnistes. .íí. 30
y_e_t ic wolde louerd for þi loue fiste.
Still þou be peter. wel i þe i cnowe.
þou wolt fur sake me þrien. ar þe coc him crowe. 33
V. 24, *. The word _c’st_ has here been erased, and should _not_ be
inserted. Skeat.
V. 27. Blank space. Read ‘frek’(=man). Skeat.
The MS. has íí at end of ll. 8, 25, 30. This means that there are here
_two_ second lines, i. e., that three lines rime together. Skeat. The
long f’s of the MS. are printed s.]
25. Willie’s Lyke-Wake.
P. 250, 506 a, II, 502 a, III, 503 a. Add the Croatian ballad, ‘Ive
umira za Marom,’ Hrvatske Narodne Pjesme iz “Naše Sloge,” II. Diel, 15,
No 11.
29. The Boy and the Mantle.
[P. 261 f. On the Gaelic ballad in the Dean of Lismore’s Book see the
elaborate article by Professor Ludw. Chr. Stern, Die gälische Ballade
vom Mantel in Macgregors Liederbuche, Zeitschrift für celtische
Philologie, I, 294 ff. The text is given according to the edition of
Alexander Cameron, Reliquiae Celticae, I, 76, with another copy from
a 1628 MS. in the Franciscan Convent at Dublin. Stern’s translation
clears up some points, and brings out one striking similarity between
the Gaelic and the English ballad. When MacReith’s wife tried on the
mantle, “er passte ihr, beides an Fuss und Hand, bis auf die Gabel
ihrer kleinen Finger und Zehen.” She explains this failure of the
mantel to cover her completely: “‘Einen Kuss bekam ich verstohlen von
O’Duibhnes Sohne Diarmaid; der Mantel würde bis auf den Boden reichen,
wenn es nicht der allein wäre.’” Compare sts 28-30 of ‘The Boy and the
Mantle.’ This similarity, in a feature unknown to other versions of the
story, coupled with the form ‘Craddocke’ in the English ballad (a form
which “nur aus dem welschen Caradawc entstanden sein kann”) convinces
Stern that ‘The Boy and the Mantle,’ and probably also the Gaelic
ballad, are derived directly from Welsh tradition, independently of the
Old French versions, which, however, he thinks also go back ultimately
to Wales (p. 310). I am indebted to Dr F. N. Robinson for calling my
attention to Stern’s article. G. L. K.]
268 ff., 507 a, II, 502 a, III, 503, IV, 454 a, V, 212 f. Tests of
chastity. “The jacinth stone will not be worne on the finger of an
adulterer, nor the olive grow if planted by one that leadeth his life
in unlawful lusts.” Greene, Never too late, Pt. II, 1590, Works, ed.
Grosart, VIII, 141. A note on the general subject in G. Rua, Novelle
del “Mambriano,” pp. 66 f., 73-83. G. L. K. [See also Zupitza, Herrig’s
Archiv f. das Studium der neueren Sprachen, LXXXII, 201; Nyrop,
Dania, I, 13, n. 2; Feilberg, Dania, I, 154; ‘La Mensuration du Cou,’
Perdrizet and Gaidoz, Mélusine, VI, 225 ff.]
270 a, 1st paragraph. The Shukasaptati story at p. 29 f. of R.
Schmidt’s translation.
30. King Arthur and King Cornwall.
P. 284. Sts 17, 18. Compare Carle of Carlile, vv. 143 ff., Percy MS.,
Hales and Furnivall, III, 282.
31. The Marriage of Sir Gawain.
P. 288 ff., II, 289 b, III, 454 a. Mr. Whitley Stokes has pointed out
that the incident of a hag turning into a beautiful woman after a man
has bedded with her occurs in the Book of Ballymote, an Irish MS. of
about 1400, and elsewhere and earlier in Irish story, as in the Book
of Leinster, a MS. of the middle of the twelfth century. The Academy,
XLI, 399 (1892). It is singular that the sovereignty in the first tale
is the sovereignty of Erin, with which the disenchanted hag rewards
her deliverer, and not the sovereignty over woman’s will which is the
solution of the riddle in the ballad. See also the remarks of Mr.
Alfred Nutt in the same volume, p. 425 (and, again, Academy, October
19, 1889, p. 255), who, while denying the necessity for any continental
derivation of the hideous woman, suggests that Rosette in Gautier’s
Conte du Graal, vv. 25380-744, furnishes a more likely origin for her
than Chrétien’s damoisele, since it does not appear that the latter is
under spells, and spells which are loosed by the action of a hero. [See
also O’Grady, Silva Gadelica, p. 328 ff.; translation, p. 370 ff. F. N.
Robinson.]
289 b. Gromere Gromorson (Grummore Gummursum) and Gromore somyr Ioure,
in Malory’s Morte Darthur, ed. Sommer, 256, 258, 799.
32. King Henry.
P. 290, note †, IV, 454 a. “La nuit si jolie fille, le jour si jolie
biche:” Pineau, Le Folk-lore du Poitou, p. 391. [A raven by day, a
woman by night: von Wlislocki, M. u. S. der Bukowinaer u. Siebenbürger
Armenier, p. 75. On transformations of all kinds, see S. Prato,
Bulletin de Folklore, 1892, p. 316 ff.]
298, II, 502 b, IV, 454 a. A man marries a snake. At midnight it
becomes a woman, and it keeps that form thereafter: J. Krainz, Mythen
u. Sagen aus dem steirischen Hochlande. No. 147, p. 194. A snake
(enchanted man) marries a girl, and is thereby freed: Brüder Zingerle,
Tirols Volksdichtungen, II, 173 ff.; cf. II, 317. G. L. K.
33. Kempy Kay.
P. 300. I have serious doubts whether this offensive ballad has not
been made too important; whether, notwithstanding the points noted at
p. 301, it is anything more than a variety of ‘The Queen of all Sluts.’
305 b. =A= 10^1. _lauchty_ in Sharpe with a line drawn in ink through
l (probably by the editor, as this is a presentation copy).
V, 213 a. Since we have Pitcairn’s copy only in Sharpe’s handwriting,
we cannot determine which of the two made the changes.
34. Kemp Owyne.
P. 307 f, II, 502 b, III, 504 a. Disenchantment; kissing a serpent. A
remarkable case alleged to have occurred at Cesena in 1464: [Angelo de
Tummulillis, Notabilia Temporum, ed. Corvisieri, 1890, p. 124 ff.;]
Giornale Storico della Letteratura Italiana, XVII, 161. G. L. K. On
the whole subject see R. Köhler’s notes in Mennung, Der Bel Inconnu,
p. 20; S. Prato’s notes, Bulletin de Folklore, 1892, p. 333 f. [W. H.
Schofield, Studies on the Libeaus Desconus, in Studies and Notes in
Philology and Literature published under the direction of the Modern
Language Departments of Harvard University, IV, 199 ff.]
36. The Laily Worm and the Mackrel of the Sea.
P. 316 a. Näktergalsvisan, Bohlin, in Nyare Bidrag till Kännedom om de
Svenska Landsmålen, II, 10, Folk-toner från Jämtland, pp. 5, 6.
37. Thomas Rymer.
P. 319, note ‡. Dr. W. H. Schofield has furnished me with an abstract
of the Visions d’Oger le Dannoys au royaulme de Fairie (which book
after all is in the Paris library). There is nothing in the Visions
which throws further light on the relation of the stories of Thomas
Rhymer and of Ogier.
320, note ‡. Bells. See R. Köhler, Zeitschr. des Vereins f. Volkskunde,
VI, 60.
321, note ‡. The duration of paradisiac bliss exceeds three hundred
years in some accounts. Three hundred years seem but three days in
the Italian legend of three monks, Graf, Miti, Leggende, etc., 1892,
I, 87 f., and in that of the young prince who invites an angel to his
wedding, Graf, 90 ff., after the Latin text published by Schwarzer,
Zeitschrift für deutsche Philologie, XIII, 338-51, 1881. (R. Köhler
pointed out in the same journal, XIV, 96 ff., that an abstract of the
story had been given in Vulpius’s Curiositäten, I, 179 ff., as early as
1811.) In the lai of Guingamor, printed by M. Gaston Paris in Romania,
VIII, 50 ff., 1879, three hundred years pass as three days. In both
the last, the eating of earthly food brings an immediate decrepitude,
followed by speedy death in the case of the prince. [See also W. Hertz,
Spielmannsbuch, p. 318 f.]
39. Tam Lin.
[P. 339 b, II, 505 b, III, 505 b. Fairy salve. Kirk’s Invisible
Commonwealth, ed. Lang, pp. 13, 34; Denham Tracts, II, 138 f.]
340 a, II, 505 b, III, 505 b, IV, 455 b. Sleeping under trees: ympe
tree. Bugge, Arkiv för nordisk Filologi, VII, 104, refers to Liebrecht,
Gervasius von Tilbury, p. 117, and to W. Hertz, Spielmannsbuch, p. 322.
40. The Queen of Elfan’s Nourice.
P. 358 b, II, 505 f., III, 505 f., IV, 459 a, V, 215 b. Mortal midwives
for fairies, etc.: Wucke, Sagen der mittleren Werra, II, 25; Gebhart,
Oesterreichisches Sagenbuch, p. 208; Baader, Neugesammelte Volkssagen,
No 95, p. 68. G. L. K.
[Kirk’s Secret Commonwealth, ed. Lang, p. 13; Denham Tracts, II, 138.]
42. Clerk Colville.
[P. 372 b. Der Ritter von Staufenberg. See the edition by Edward
Schröder: Zwei altdeutsche Rittermären, Moriz von Craon, Peter von
Staufenberg. Berlin, 1894. Schröder dates the composition of the poem
about 1310 (p. LI). He shows that Schott’s edition, which Culemann
followed, was a reprint of one printed by Prüss in 1483 at the
earliest, but thinks that it followed that of Prüss at no long interval
(p. XXXIV). Cf. also Schorbach, Zeitschr. f. deutsches Altertum, XL,
123 ff.]
374-78. The mother’s attempt to conceal the death of her son from
his wife occurs also in ‘Ebbe Tygesøns Dødsridt’ and ‘Hr. Magnuses
Dødsridt,’ Olrik, Danske Ridderviser, Nos 320, 321, and Swedish copies
of the former; borrowed no doubt from ‘Elveskud.’
380, II, 506 a, III, 506 a, IV, 459 a, V, 216 a. Add: =XX=, ‘La Mort de
Jean Renaud,’ Beauquier, Chansons p. recueillies en Franche-comté, p.
152.
43. The Broomfield Hill.
[P. 393 a, III, 506 b, IV, 459 b. With the Italian ballad cf. ‘Quarante
ans j’ai travaillé,’ Georgeakis et Pineau, Folk-lore de Lesbos, p. 246.]
393 f., 506. Jäger-Romanze in Böhme, Altdeutsches Liederbuch, No 437,
from Melchior Franck, Fasciculus Quodlibeticus, Nürnberg, 1611, No 6:
slightly different, no disposition to kill the maid. Three copies of
this all but inevitable ballad in Blätter für Pommersche Volkskunde,
II. Jahrgang, p. 77 f., ‘Jägerslied;’ and more might be added.
44. The Twa Magicians.
[P. 400. =Greek.= Cf. ‘Les Transformations,’ Georgeakis et Pineau,
Folk-lore de Lesbos, p. 210 ff. (no mention of the Turk’s transforming
himself).]
401. =Polish.= Add: Kolberg, Lud, XXI, 27, No 50; XXII, 102, No 157;
Kolberg, Mazowsze, II, 54 f., Nos 131, 132; III, 247, 321; IV, 274, No
240.
401 b, II, 506 b, III, 506 f., IV, 459 b, V, 216 a. Transformations
during flight. Add R. Köhler’s notes to L. Gonzenbach’s Sicilianische
Märchen, now published by J. Bolte, Zeitschrift des Vereins für
Volkskunde, VI, 65.
The incidents of the flight of the girl and her lover, the pursuit
and the transformations, and of the Devil outwitted by his pupil are
discussed by G. Rua, Novelle del “Mambriano” del Cicco da Ferrara, p.
95. See also M. Wardrop, Georgian Tales, p. 4, No. 1. G. L. K.
45. King John and the Bishop.
[P. 405 ff., II, 506 f., IV, 459 b, V, 216 a. A Christian ascetic has
taken up his abode in a hogshead, on which he has written, “If thou
art wise, live as I live!” The sultan puts three questions to him:
How far is it to heaven? At how much do you value me? Which is the
best religion? The penalty for failure to solve them is to be dragged
at the tail of the sultan’s horse. The answers are: A day’s journey;
twenty-nine silver pieces; neither of the two religions is the better,
for the two are God’s eyes, one of which is as dear to him as the
other. Von Wlislocki, M. u. S. der Bukowinaer u. Siebenbürger Armenier,
‘Der weise Mann,’ No 30, p. 83 ff.]
46. Captain Wedderburn’s Courtship.
[P. 417 a, II, 507 b, III, 507 a, IV, 459 b, V, 216 a. Heads on stakes.
See W. H. Schofield, in the (Harvard) Studies and Notes in Philology
and Literature, IV, 175 ff.]
418 a, II, 507 b. See Stiefel, Ueber die Quelle der Turandot-Dichtung
Heinz des Kellners, in Zeitschr. f. vergleichende Litteraturgeschichte,
N. F., VIII, 257 ff.
47. Proud Lady Margaret.
P. 426. Add: ‘La fille damnée,’ Daymard, p. 178; ‘La sposa morta,’
Archivio, VIII, 274; the “romance” in Ballesteros, Cancionero popular
gallego, III, 256; see also the “romance” ‘Bernal Francez’ from Algarve
in Encyclopedia Republicana, Lisbon, 1882, p. 156.
49. The Twa Brothers.
I.
P. 435, V, 217. Communicated by Mr J. K. Hudson of Manchester. Sung
after a St George play regularly acted on All Souls’ Day at a village
a few miles from Chester, and written down for Mr Hudson by one of the
performers, a lad of sixteen. The play was introduced by a song called
Souling (similar to a Stephening, see I, 234), and followed by two
songs, of which this is the last, the whole dramatic company singing.
1
‘And it’s where hast thou been all this night long, my son?
Come tell it unto me.’
‘I have been lying on yonder bull-rushes,
Which lies beneath yond tree.’
2
‘And it’s what are the spots on this thy coat, my son?
Come tell it unto me.’
‘They are the spots of my poor brother’s blood,
Which lies beneath yonder tree.’
3
‘And it’s what didst thou kill thy poor brother for, my son?
Come tell it unto me.’
‘Because he killed two pretty little birds,
Which flew from tree to tree.’
4
‘And it’s what will the father say when he comes, my son?
Come tell it unto me.’
‘I will dress me up in sailor’s clothes,
And my face he will never see.’
5
‘And it’s what wilt thou do with thy pretty little wife, my son?
Come tell it unto me.’
‘I will dress her up in lad[d]ie’s clothes,
And she will sail along with me.’
6
‘And it’s what wilt thou do with thy children three, my son?
Come tell it unto me.’
‘I will leave them to my poor grandfather to rear,
And comfort [to] him [to be].’
7
‘And it’s when shall we see thy face again, my son?
Come tell it unto me.’
‘When the sun and moon shines both at once,
And that shall never be.’
53. Young Beichan.
P. 459 a. For a late German ballad on the Moringer story (‘von dem
Markgrafen Backenweil’) see Bolte, Zeitschrift des Vereins für
Volkskunde, III, 65-7, and for notes of dramas upon the theme, pp.
62-4. I do not observe that I have anywhere referred to the admirably
comprehensive treatment of the subject by von Tettau, Ueber einige bis
jetzt unbekannte Erfurter Drucke des 15. Jahrhunderts, Ritter Morgeners
Wallfahrt, pp. 75-123. The book did not come into my hands till two
years after my preface was written.
FOOTNOTES:
[126] All the ballads in Scott’s Minstrelsy, excepting a few pieces,
of which only ‘Cospatrick’ and ‘The Bonny Hind’ require mention, were
translated in Historische und romantische Balladen der Schottischen
Grenzlande, Zwickau, 1826-7, 7 small vols, by Elise von Hohenhausen,
Willibald Alexis, and Wilhelm von Lüdemann, a work now rare, which has
just come to hand. Registering these translations here, in 53 entries,
would require an unwarrantable space.
VOL. II.
56. Dives and Lazarus.
P. 10 b, III, 507 b, 508 a, IV, 462 b, V, 220 a. Add: =Ruthenian=
ballad, Kolberg, Pokucie, II, 280, No 505. Legends not in stanzas,
=White Russian=, ‘Lazar,’ Šejn, II, 578-90, 3 copies; Romanov, Part
V, pp. 341-56, Nos 22-26, 5 copies and variants; =Great Russian=,
Jakuškin, p. 44, No 13, 2 copies. Lazarus and the rich man are brothers.
‘Il ricco Epulone,’ the Madonna begging, Archivio, XIV, 209 f.
57. Brown Robyn’s Confession.
P. 13, 510 a, IV, 463 a, V, 220 a. A serpent stops a ship and demands
a passenger: Larminie, West-Irish Folk-Tales, p. 131. On the detention
of ships by submarine folk, see Whitley Stokes, Revue Celtique, XV,
294 f. G. L. K. (The article attributed to R. Köhler, II, 510 a, is
by L. Laistner.) [Add Jātaka, Bk. I, No 41, Cowell, I, 110. A ship
mysteriously detained because the owner has neglected a promise: Yacoub
Artin Pacha, Contes pop. de la vallée du Nil, p. 74.]
59. Sir Aldingar.
[P. 33, 511 b, III, 508 a, IV, 462 a. For parallels, including the
child champion, see R. Köhler’s account of the Breton mystery of Sainte
Tryphine, Revue Celtique, I, 222 ff. F. N. Robinson.]
64. Fair Janet.
P. 102 f. (Breton ballad), III (497 b, No 5), 508 b, IV, 464 a, V,
222 a. Add to the French ballads a copy from Basse-Normandie obtained
by M. Couraye du Parc, Études romanes dédiées à Gaston Paris, 1891,
p. 49; ‘L’infidèle punie,’ Beauquier, Chansons p. recueillies en
Franche-Comté, p. 254. [On the similarity of the beginning of ‘La
Fidanzata Infedele’ to that of the Danish ballad ‘Hyrde og Ridderfrue,’
see Olrik, Ridderviser, I, 181, No 349.]
P. 109. Something similar to what is narrated in =F= 7-10 is, I am
assured by high authorities, familiar to practising physicians. An
eminent professor in the Harvard Medical School informs me that in the
case of two families under his care the husband has been regularly
troubled with “morning sickness” during the first three or four
months of the wife’s pregnancy (the husband in neither case being of
a nervous or hysterical disposition). Mr. E. E. Griffith, late of
Harvard College, tells me that a respectable and intelligent man of
his acquaintance in Indiana maintained that he always shared the pains
of his wife during parturition, and that his labors were as intense
in degree and as long in time as hers. A distinguished physician
of Indiana, while testifying to the frequency of cases of the like
sympathy, insists that such experiences occur only to husbands who have
witnessed the pains in question, or who have learned about them by
reading or conversation on the matter, and that “suggestion” affords an
explanation of the phenomenon.
65. Lady Maisry.
P. 112 f. In a Polish ballad a girl who has had a child irregularly
is burned by her two brothers. Her paramour comes by when she is
half burned, and she begs him to save her. (How can I? he says; your
brothers are here. The brothers say, we have done wrong to burn her; we
have left her child an orphan.) Kolberg, Lud, XVI, 291, No 476.
P. 114, st. 17.
O whare is a’ my merry young men,
Whom I gi meat and fee?
With this common-place compare:
Hvor ere nu de Kæmper, min Fader giver Brød (Løn), Grundtvig, D. g. F.,
No 184, G, 8, 9.
Aquí, aquí, los mis doscientos,
Los que comeis el mi pan.
Wolf and Hofmann, Primavera, I, 39, 41 f., and Conde Claros, the same,
II, 374.
66. Lord Ingram and Child Wyet.
Pp. 127, 511, III, 509 a. Naked sword as emblem of chastity. More notes
by R. Köhler to Laura Gonzenbach’s Sicilianische Märchen, Nos 39, 40,
now published by J. Bolte in Zeitschrift des Vereins für Volkskunde,
VI, 76.
[Mame Ala, in the Kurdish story ‘Mâm and Sîn,’ lays a dagger
(_Dolchmesser_) between himself and Sine, “so dass der Griff desselben
gegen ihre, die Spitze gegen seine eigene Brust gerichtet war.” Prym u.
Socin, Kurdische Sammlungen, Petersburg Academy, translation, p. 101.]
127, note *, III, 509 a. Italian ballad (sword reduced to a straw).
Bernoni, Trad. pop. veneziane, p. 36; Ferraro, Canti pop. di Ferrara,
pp. 56, 103; Villario, in Archivio, XI, 35; Menghini, Canzoni pop.
romane, in Sabatini, Il Volgo di Roma, I, 75 ff.
[127 f., 511 b, III, 509 a. Table-jumping.
Et chil Robert d’Artois n’i fist arestement,
La table tressali tost et apertement;
Au conte Salebrin ala premierement.
The Vows of the Heron (about 1340), Wright, Political Poems, I, 9 f.]
[128. ‘Ebbe Skammelsøn’ is now No 354 in the Grundtvig-Olrik
collection of Danish ballads, Ridderviser, I, 197 ff. 8 Danish versions
are printed (some of which go back to MSS of the 17th century), with a
very elaborate introduction and critical apparatus. Dr. Olrik regards
the extant Norwegian texts as derived from print. He enumerates 8
Swedish versions.]
67. Glasgerion.
P. 137, II, 511 f. Soporific effect of harping: cf. Revue celtique,
XII, 81, 109, XV, 438. G. L. K.
69. Clerk Saunders.
P. 166. Stanzas 30-37 are inserted in Buchan’s first MS. on a separate
slip of paper, and at 29, where the ballad originally ended, there is
this note: “See the additional stanzas on the annexed leaf.” W. Walker.
72. The Clerk’s Twa Sons o Owsenford.
P. 174, note *. ‘Dass Schloss in Oesterreich,’ etc.: see Böhme’s
Erk, No 61^{a-g}; Frischbier u. Sembrzychi, Hundert Ostpreussiche
Volkslieder, No 16, p. 26; Becker, Rheinischer Volksliederborn,
No 2, a, b, c, p. 2 ff.; Wolfram, No 44, p. 71; Kristensen, Jyske
Folkeminder, XI, 218, No 81.
73. Lord Thomas and Fair Annet.
P. 181, III, 510 b, IV, 469 a, V, 223 b. Add to the Southern ballads
‘Le mariage tragique,’ Beauquier, Chansons p. recueillies en
Franche-comté, p. 81; ‘Las bodas,’ Milá, Romancerillo Catalan, p. 257,
No 262. (In this last, ‘vert marca esperansa.’)
74. Fair Margaret and Sweet William.
P. 199. Communicated by Miss Mary E. Burleigh, of Worcester,
Massachusetts, and derived, through a relative, from her
great-grandmother, who had heard the ballad sung at gatherings of young
people in Webster, Massachusetts, not long after 1820.
1
There was such a man as King William, there was,
And he courted a lady fair,
He courted such a lady as Lady Margaret,
For a whole long twelve-month year.
2
Said he, ‘I’m not the man for you,
Nor you the maid for me,
But before many, many long months
My wedding you shall see.’
3
Said she, ‘If I’m not the maid for you,
Nor you the man for me,
Before many, many long days
My funeral you shall see.’
4
Lady Margaret sat in a green shady bower,
A combing her yellow, yellow hair,
When who should she see but King William and his bride,
And to church they did repair.
5
She threw all down her ivory comb,
Threw back her yellow hair,
And to the long chamber she did go,
And for dying she did prepare.
6
King William had a dream that night,
Such dreams as scarce prove true:
He dreamed that Lady Margaret was dead,
And her ghost appeared to view.
7
‘How do you like your bed?’ said she,
‘And how do you like your sheets?
And how do you like the fair lady
That’s in your arms and sleeps?’
8
‘Well do I like my bed,’ said he,
‘And well do I like my sheets,
But better do I like the fair lady
That’s in my arms and sleeps.’
9
King William rose early the next morn,
Before the break of day,
Saying, ‘Lady Margaret I will go see,
Without any more delay.’
10
He rode till he came to Lady Margaret’s hall,
And rapped long and loud on the ring,
But there was no one there but Lady Margaret’s brother
To let King William in.
11
‘Where, O where is Lady Margaret?
Pray tell me how does she do.’
‘Lady Margaret is dead in the long chamber,
She died for the love of you.’
12
‘Fold back, fold back that winding sheet,
That I may look on the dead,
That I may kiss those clay-cold lips
That once were the cherry-red.’
13
Lady Margaret died in the middle of the night,
King William died on the morrow,
Lady Margaret died of pure true love,
King William died of sorrow.
14
Lady Margaret was buried in King William’s church-yard,
All by his own desire,
And out of her grave grew a double red rose
And out of hisn a briar.
15
They grew so high, they grew so tall,
That they could grow no higher;
They tied themselves in a true-lover’s knot,
And both fell down together.
16
Now all ye young that pass this way,
And see these two lovers asleep,
’Tis enough to break the hardest heart,
And bring them here to weep.
199 f. Mallet and ‘Sweet William.’ Full particulars in W. L. Phelps,
The Beginnings of the English Romantic Movement, 1893, p. 177 ff.
75. Lord Lovel.
P. 204 f., note †, 512 b, IV, 471 a, V, 225 a. Add: Wolfram, p. 87, No
61, ‘Es spielte ein Ritter mit einer Madam.’
205 b, note *. The Swedish ballad (p. 71 f. of the publication
mentioned) is defective at the end, and altogether amounts to very
little.
[206. =Romaic.= Add: ‘La belle Augiranouda,’ Georgeakis et Pineau,
Folk-lore de Lesbos, p. 223 f.]
206 a, and note *. Add: Wolfram, No 28, p. 55, ‘Es war ein Jäger
wohlgemut,’ and ‘Jungfer Dörtchen,’ Blätter für Pommersche Volkskunde,
II. Jahrgang, p. 12.
211, =H.= I have received a copy recited by a lady in Cambridge,
Massachusetts, which was evidently derived from print, and differs but
slightly from a, omitting 8^{3, 4}, 9^{1, 2}.
76. The Lass of Roch Royal.
P. 215. ‘Germaine’: see Daymard, p. 170; Revue des Traditions
populaires, III, 364; Beauquier, Chansons pop. recueillies en
Franche-Comté, p. 259.
77. Sweet William’s Ghost.
P. 228 f., 233, 239, III, 514, IV, 474. Of the succession of three
cocks, white, red, black (reduced to two in English ballads), see R.
Köhler, Der weisse, der rothe und der schwarze Hahn, Germania, XI,
85-92. [So in the tale ‘L’Andromède et les Démons,’ Georgeakis et
Pineau, Folk-lore de Lesbos, p. 82 f.]
228, note †. Two or three additions in Böhme’s Erk, I, 598 ff., No 197,
c, d, g.
78. The Unquiet Grave.
P. 235 a, last paragraph. Servian ballad in which a child’s shirt is
wet with its mother’s tears, Rajković, p. 143, No 186, ‘Dete Lovzar i
majka mu’ (‘The child and his mother’).
[235. Tears burning the dead. Professor Lanman furnishes the following
interesting parallel from the Mahābhārata, XI, 43 ff.: Dhṛtarāṣṭra is
lamenting for his fallen sons. His charioteer says;--The face that thou
wearest, covered with falling tears, is not approved by the sacred
books; nor do wise men praise it. For they [the tears], like sparks,
’tis said, do burn those men (for whom they’re shed).]
79. The Wife of Usher’s Well.
[P. 238, III, 513. Communicated, 1896, by Miss Emma M. Backus, of North
Carolina, who notes that it has long been sung by the “poor whites” in
the mountains of Polk County in that State. It has the mother’s prayer
for the return of her children, as in =C=, III, 513, but is in other
respects much nearer to =A=. In the last stanza we should doubtless
read “They wet our winding sheet,” or the like. In 4^3 the MS. has
_louely_ or _lonely_, perhaps meant for _lovely_.
1
There was a lady fair and gay,
And children she had three:
She sent them away to some northern land,
For to learn their grammeree.
2
They hadn’t been gone but a very short time,
About three months to a day,
When sickness came to that land
And swept those babes away.
3
There is a king in the heavens above
That wears a golden crown:
She prayed that he would send her babies home
To-night or in the morning soon.
4
It was about one Christmas time,
When the nights was long and cool,
She dreamed of her three little lonely babes
Come running in their mother’s room.
5
The table was fixed and the cloth was spread,
And on it put bread and wine:
‘Come sit you down, my three little babes,
And eat and drink of mine.’
6
‘We will neither eat your bread, dear mother,
Nor we’ll neither drink your wine;
For to our Saviour we must return
To-night or in the morning soon.’
7
The bed was fixed in the back room;
On it was some clean white sheet,
And on the top was a golden cloth,
To make those little babies sleep.
8
‘Wake up! wake up!’ says the oldest one,
‘Wake up! it’s almost day.
And to our Saviour we must return
To-night or in the morning soon.’
9
‘Green grass grows at our head, dear mother,
Green moss grows at our feet;
The tears that you shed for us three babes
Won’t wet our winding sheet.’]
80. Old Robin of Portingale.
[P. 240. Dr. Axel Olrik thinks that this ballad is related to the
Danish ballad ‘Utro Fæstemø vil forgive sin Fæstemand,’ No 345 in the
Grundtvig-Olrik collection (Ridderviser, I, 167, note *), which he
refers for its origin to the story of the Lombard queen Rosemunda (see
note on ‘Lord Randal,’ No 12, p. 286, above). The drink promised to Old
Robin by his wife Dr Olrik thinks may indicate that the English ballad
was once more similar to the Danish than it is in the version which we
possess.]
87. Prince Robert.
P. 284. A mother prepares wholesome drink for her son, poison for his
wife; both son and wife are poisoned. They are buried separately, one
in the church, one in the graveyard. Trees from their graves join
their tops. White Russian, Šejn, I, I, 444, No 544, 447-51, Nos 546-9;
Hiltebrandt, p. 64, No 65; Kupčanko, ‘Vdova otravljaet nevěstu,’ p.
255, No 300. Ruthenian, Kolberg, Pokucie, II, 41, No 48.
90. Jellon Grame.
P. 303 b, 513 b, III, 515 b, IV, 479 b, V, 226 a.
Vol’ga, Volch, of the Russian _bylinas_, must have a high place among
the precocious heroes. When he was an hour and a half old his voice was
like thunder, and at five years of age he made the earth tremble under
his tread. At seven he had learned all cunning and wisdom, and all the
languages. Dobrynya is also to be mentioned. See Wollner, Volksepik der
Grossrussen, pp. 47 f., 91.
Simon the Foundling in the fine Servian heroic song of that name,
Karadžić, II, 63, No 14, Talvj, I, 71, when he is a year old is like
other children of three; when he is twelve like others of twenty, and
wonderfully learned, with no occasion to be afraid of any scholar, not
even the abbot. (Cf. ‘The Lord of Lorne,’ V, 54, 9, 10.)
Other cases, Revue Celtique, XII, 63; Wardrop, Georgian Folk Tales, No
6, p. 26. G. L. K. [Lady Guest’s Mabinogion, III, 32, 65; 201, 232;
Firdusi, Livre des Rois, Mohl, 1838, I, 353 ff. A. and A. Schott,
Walachische Märchen, p. 265 (cf. A. Wirth, Danae in christlichen
Legenden, p. 34). F. N. Robinson. See also von Wlislocki, M. u. S. der
Bukowinaer u. Siebenbürger Armenier, No 24, p. 65; Jacottet, Contes
pop. des Bassoutos, p. 196 f.; Georgeakis et Pineau, Folk-lore de
Lesbos, p. 168.]
93. Lamkin.
Pp. 320-42, III, 515, IV, 480 f., V, 229 f.
Denham, Tracts, II, 190, refers to a Northumbrian version of the ballad
which associated Long Lonkin with Nafferton Castle in the parish of
Ovingham. He also gives a story, obtained from an old man in Newcastle,
according to which Long Lonkin is no mason but a gentleman, who kills
the lady and her one child because the lord of Nafferton had been
preferred to him. The husband, abandoning his journey to London on
account of a misgiving that all was not right at home, after finding
his wife and child dead, hunts down the murderer, who drops from a
tree in which he had concealed himself into a pool, thence called Long
Lonkin’s pool, and is drowned.
Communicated by Mr. W. W. Newell, with the superscription (by the
original transcriber, Miss Emma M. Backus) “as sung in Newbern, North
Carolina, seventy-five years ago” (1895).
1
John Lankin was a good mason
As ever laid a stone;
He built Lord Arnold’s castle
And the lord he paid him none.
2
John Lankin then swore,
If the lord did not pay him,
He would break into his castle
And murder all his kinsmen.
3
Lord Arnold soon did hear
Of John Lankin’s threat so dour;
He did guard all his castle
With soldiers every hour.
4
He said to his lady,
‘I am going away from home,
And what should you do
If John Lankin should come?’
5
‘I care not for John Lankin,
Or any of his kin;
I will bar all my doors
And I’ll pin my windows in.’
6
The doors were all barrd
And the windows pinned in,
And out of the kitchen-window
The nurse she let him in.
7
He killed the good lady
With a cowardly cruel blow,
And threw her pretty baby
To the dank moat below.
8
John Lankin was hung
On the gallows so high,
And the nurse she was chained
In a dungeon to die.
95. The Maid freed from the Gallows.
P. 346 f., III, 516 a, IV, 481 a, V, 231 a. Michele Barbi, Poesia
popolare pistoiese, p. 9, found a fragment of Scibilia Nobili at Plan
dagli Ontani under the name of Violina, and Giannini’s ‘Prigioniera’
(III, 516 a), otherwise ‘Mosettina,’ under the name Violina,’
‘Brunetta,’ etc.
The following copy was communicated by Mr W. W. Newell, as derived from
Miss Emma M. Backus, North Carolina, who says: “This is an old English
song, in the Yorkshire dialect, which was brought over to Virginia
before the Revolution. It has not been written for generations, for
none of the family have been able to read or write.” Miss Backus
adds that the pronunciation indicated is by no means that which is
ordinarily used by the people who sing this ballad. It will, however,
be noted that the Yorkshire dialect is not well preserved.
THE HANGMAN’S TREE.
1
‘Hangman, hangman, howd yo hand,
O howd it wide and far!
For theer I see my feyther coomin,
Riding through the air.
2
‘Feyther, feyther, ha yo brot me goold?
Ha yo paid my fee?
Or ha yo coom to see me hung,
Beneath tha hangman’s tree?’
3
‘I ha naw brot yo goold,
I ha naw paid yo fee,
But I ha coom to see yo hung
Beneath tha hangman’s tree.’
4, 5, } meyther }
7, 8, } _as in_ 1, 2, _substituting_ sister } _for_ feyther
10, 11 } sweetheart}
6, 9, _as in_ 3.
12
‘Oh I ha brot yo goold,
And I ha paid yo fee,
And I ha coom to take yo froom
Beneath tha hangman’s tree.’
3^4. hangmens.
4^3. mither.
5^2. Or ha.
5^3. hang.
5^4, 8^4, 11^4. gallows tree.
12^3. An.
12^4. the.
348 b. =German.= Böhme, in his edition of Erk’s Liederhort, I, 277,
adds a copy, from singing, dated 1878, ‘Die Losgekaufte,’ No 78 e.
349 f., 514 a, III, 516 b. A young man in prison bought out by his
sweetheart, father, mother, etc., refusing help: Little Russian,
Romanov, I, 63, No 2; Croatian, Valjavec, p. 303, No 19, ‘Junak vu
Madjarski vuzi;’ Great Russian, Jakuškin, p. 147 f.; Ruthenian,
Kolberg, Pokucie, II, 226 f., Nos 418, 420. Woman rescued by lover
from Tatar who was about to kill her, the blood-relations declining:
Romanov, I, 53, No 105.
514 a. In Nesselmann’s Littauische Volkslieder, No 119, p. 96,
and Bartsch’s Dainu Balsai, I, 147, No 107, II, 202, No 321 (from
Bezzenberger, Litauische Forschungen, p. 17, No 27), we have a ballad
of a youth who does not get release from confinement though his blood
relations lay down handsomely for him, but in the end is freed by his
sweetheart with a trifle of a ring or a garland. In Bartsch, I, 63, No
53, a girl who has been shut up nine years is let alone by her father
and her brother, but liberated by her lover; II, 296, Ulmann, Lettische
Volkslieder, p. 168, relations make an attempt to buy off a conscript,
without success, but his sweetheart effects his release by selling her
garland. Silly stories all.
96. The Gay Goshawk.
P. 356, III, 517 a, IV, 482 a, V, 234 a. Chanson du Roi Loys, ou de la
Belle dans la Tour. Add ‘Le Prince qui torture sa Fille,’ Beauquier,
Chansons p. recueillies en Franche-Comté, p. 147; copy from Normandy,
copy from Savoy, Revue des Traditions populaires, X, 641 f.
356 b, III, 517 a, IV, 482, V, 234 a. ‘Les trois capitaines.’ Add: ‘Au
château de Belfort,’ Beauquier, pp. 59 f., 369 f.
III, 517 b. Girl feigns death to avoid a disagreeable suitor; test of
water, fire, and hand in bosom, which last is the hardest to bear:
‘Vojvoda Janko i mlada Andjelija,’ Hrvatske Pjesme iz “Naše Sloge,” II,
65, No 68.
100. Willie o Winsbury.
P. 399, note. The ballad need not be older than the 16th century. Drop
“but it was hardly,” etc.
104. Prince Heathen.
P. 424 b. It is more commonly the lady that is rolled in silk; the son
is laid, dressed, rolled in silk, No 5, =C=, 82, No 20, =C=, 8 of the
places cited (=C=, 83, =E=, 32, are to be dropped), and No 104, =B=, 14.
112. The Baffled Knight.
II, 479 a. The Complete Collection of Old and New English and Scotch
Songs, 1735, a rare book, is in the library of the British Museum, and
Mr Round, who has kindly examined it for me, informs me that all the
ballads in it are repetitions from earlier publications; in the present
case of =B=, from Pills to purge Melancholy.
481 b, IV, 495 a. Add ‘Il fallait plumer la perdrix,’ Beauquier,
Chansons p. recueillies en Franche-Comté, p. 303.
481 b, III, 518 a, IV, 495 a, V, 239 b. Tears: add ‘L’Amant timide,’
Beauquier, Chansons p. recueillies en Franche-Comté’, p. 180; La
Tradition, 1895, p. 69.
483 b, V, 240 a. La Batelière rusée in Beauquier, Chansons populaires
recueillies en Franche-Comté, p. 40.
Slavic ballads of similar tenor (Servian), Rajković, ‘Mudra devojka,’
p. 16, No 23, ‘Lukava čobanka,’ p. 129, No 173.
VOL. III.
116. Adam Bell, etc.
P. 22. Translated after the original text by Professor Emilio Teza: ‘I
tre Banditi,’ Padova, 1894.
26, 87^1. I regret having changed ‘an oute-horne,’ which is the reading
in all the texts which have the stanza (=b=-=f=), to ‘a noute-home.’
Oute horne was originally given, and therefore this reading was not
entered in the variations of =c=-=f=, as should have been done later,
when the reading ‘a noute-home’ was adopted.
117. A Gest of Robyn Hode.
P. 43, note §. Right-hitting Brand is one of the attendants of Robin in
A. Munday’s Metropolis Coronata (1615), Fairholt, Pageants, I, 40. J.
M. Manly.
52 and note. See further on Le prêt miraculeusement remboursé, M. René
Basset, in Revue des Traditions populaires, IX, 14-31.
54. Mr Macmath has sent me a transcript of another copy of the song
in Deuteromelia which exhibits some variations. It was found April
5, 1895, in a bundle of papers that had belonged to John, Duke of
Roxburghe. This copy is in a 17th century hand, and at the end is
written: “This song was esteemed an old song before the rebellion broke
out in 1641.”
76, st. 412. The first two verses should be corrected according to =f=,
=g=, thus:
‘Mercy,’ then said Robyn to our kynge,
‘Vnder this.’
120. Robin Hood’s Death.
P. 103, note *, V, 240. Communion-bread called God (Lord). “For it was
about Easter, at what times maidens gadded abroade, after they had
taken their Maker, as they call it.” Wilson, Arte of Logike, fol. 84 b.
J. M. Manly.
“In oure louerd þat he had ynome wel ioyful he was þo.” St Edmund the
Confessor, v. 573, Furnivall, Early English Poems, Philol. Soc., p. 86.
“Preostes ... fette to þis holi maide godes flesch and his blod.” St
Lucy, v. 168, _ib._ p. 106. G. L. K.
103, note †. The met-yard, being a necessary part of an archer’s
equipment for such occasions as p. 29, 148, 158; p. 75, 397; p. 93, 28;
p. 201, 18, 21, may well enough be buried with him.
104. Russian. Similar directions as to the grave in Jakuškin, p. 99.
123. Robin Hood and The Curtal Friar.
P. 128 a, v. 80. The reading should be
Now am I, frere, without, and thou, Robyn, within:
otherwise there is no change in their relative plight.
125. Robin Hood and Little John.
P. 133 a. There is a black-letter copy, printed by and for W. Onley,
in Lord Crawford’s collection, No 1320; the date put at 1680-85. A
white-letter copy in Roxburghe, III, 728. See Ebsworth’s Roxburghe
Ballads, VIII, 504.
155. Sir Hugh or the Jew’s Daughter.
[241 a. The Life and Miracles of St William of Norwich have been edited
by Drs Jessopp and James.]
156. Queen Eleanor’s Confession.
P. 258 b, 3d paragraph. The Danish ballad is printed in Dania, II, 275,
1893: ‘Vise om Caroline Mathilde,’ derived from an old lady who in
childhood had heard it sung by a peasant girl, about 50 years before
the publication.
159. Durham Field.
P. 283 a. Knights wearing the king’s armor in battle. This was
naturally frequently done. So John at Poitiers had twenty in his
“parements,” Froissart (Buchon), III, 186, and Charles VIII a good
number at Fornovo, Daniel, Histoire de France, VIII, 222.
161. The Battle of Otterburn.
Pp. 294, 520 a, IV, 499, V, 244 b. St George Our Lady’s Knight. Add:
Torrent of Portyngale, v. 1677: E. Flügel, Neuenglisches Lesebuch, I,
441.
162. The Hunting of the Cheviot.
P. 306 a, 38 f. Motherwell has cited an apt passage from the romance of
Alisaunder which may well be repeated.
Ac theo deol that Alisaunder made
No may Y nought fully rede.
Darie starf in his armes two:
Lord that Alisaunder was wo!
He wrong his hondes saun faile,
Ofte he cried and ofte he uaile:
Y wolde Y hadde al Perce y-geve,
With that Y myghte have thy lif!
Weber, Kyng Alisaunder
vv. 4648-55.
P. 306, st. 54, IV, 502, V, 244. Hrafn fights after Gunnlaugr has
hewn off his feet: Gunnlaugs saga Ormstungu, ed. Mogk, p. 27. W. H.
Schofield.
Note †. The Highlander is paralleled by an Indian in The Observations
of Sir Richard Hawkins, Markham, The Hawkins’ Voyages, Hakluyt Society,
p. 243, and by Mordred in Malory’s Morte Darthur, ed. Sommer, Bk 21,
ch. 4. G. L. K.
168. Flodden Field.
P. 351 b (12, lapt all in leather), IV, 507 a. The dying witch of
Berkeley says to her children: Insuite me corio cervino, deinde in
sarcophago lapideo supinate, operculum plumbo et ferro constringite.
William of Malmesbury, Gesta Regum Anglorum, ed. Stubbs, Bk 2, I, 254,
§ 204.
169. Johnie Armstrong.
[P. 367. Johnie’s plain speech to the king. So in Li Charrois de Nymes,
v. 283, in Jonkbloet, Guillaume d’Orange, I, 80: “Et dit Guillaumes,
‘Dans rois, vos i mentez.’”]
367, and note. The Baron of Brackley’s son (No 203), set on the nurse’s
knee, uses nearly the same words as Johnie Armstrong’s in =B=, 24. M.
Gaidoz, Mélusine, VII, 70, cites from Hone the passage in No 54 (=B=,
5, 6, see also =A=, 5, 6, =D=, 4, 5), in which Jesus speaks from his
mother’s womb. See further Mélusine, IV, 447, V, 36, 257, VI, 92.
170. The Death of Queen Jane.
P. 372-6. Appendix. ‘The Duke of Bedford,’ Longman’s Magazine, XVII,
217, 1890, “sent from Suffolk,” is one half (sts 5-8) a plagiarism from
‘The Death of Queen Jane.’ Compare =A=, 5, 6, =B=, 8, =C=, 5, 6, =D= 6
of Queen Jane with what follows. The remainder of ‘The Duke of Bedford’
is so trivial that it is not worth the while at present to assign that
piece its own place. I have not attempted to identify this duke of
Bedford; any other duke would probably answer as well.
THE DUKE OF BEDFORD.
1
Six lords went a-hunting down by the seaside,
And they spied a dead body washed away by the tide.
2
Said one to the other, ‘As I’ve heard them say,
’Tis the famous Duke of Bedford, by the tide washed away.’
3
They took him up to Portsmouth, to the place where he was born,
From Portsmouth up to London, to the place where he was known.
4
They took out his bowels and laid down his feet,
And they garnished his body with roses so sweet.
5
Six lords went before him, six bare him from the ground,
Eight dukes followed after, in their black velvet gowns.
6
. . . . . . . . . .
And the Royal Princess Mary went weeping away.
7
So black was the funeral and so white were their fans,
And so pretty were the flamboys that they carried in their hands.
8
The drums they did beat and the trumpets they did sound,
And the great guns they did rattle as they put him in the ground.
173. Mary Hamilton.
P. 382. The passages following relate to the affair of the Frenchwoman
and the apothecary. Calendar of State Papers, Foreign Series, of the
Reign of Elizabeth, 1563. (Indicated to me by Mr Andrew Lang.)
The Queen’s apothecary got one of her maidens, a Frenchwoman, with
child. Thinking to have covered his fault with medicine, the child was
slain. They are both in prison, and she is so much offended that it is
thought they shall both die. Randolph to Cecil, Edinburgh, 21 Dec.,
1563, p. 637. The apothecary and the woman he got with child were both
hanged this Friday. Randolph to Cecil, Dec. 31, 1563, p. 650.
The heroine of this ballad is Mary Hamilton in all copies in which she
has a full name, that is, twelve out of the twenty-four which have
any name; Mary simply, or Mary mild,[127] is found in eleven copies,
and Maisry in one. Finding in the history of the court of Peter the
Great an exact counterpart of the story of the ballad with a maid of
honor named Mary Hamilton filling the tragic _rôle_, and “no trace of
an admixture of the Russian story with that of the Frenchwoman and
the queen’s apothecary,” I felt compelled to admit that Sharpe’s
suggestion of the Russian origin of the ballad was, however surprising,
the only tenable opinion (III, 382 f.). Somewhat later a version of the
ballad (=U=) was found at Abbotsford in which there is mention of the
apothecary and of the practices for which he suffered in 1568, and this
fact furnished ground for reopening the question (which, nevertheless,
was deferred).
Mr Andrew Lang has recently subjected the matter of the origin of the
ballad to a searching review (in Blackwood’s Magazine, September, 1895,
p. 381 ff.). Against the improbability that an historical event of
1718-9 should by simple chance coincide, very minutely and even to the
inclusion of the name of the principal actor, with what is related in
a ballad ostensibly recounting an event in the reign of Mary Stuart,
he sets the improbability that a ballad, older and superior in style
to anything which we can show to have been produced in the 18th, or
even the 17th century,[128] should have been composed after 1719, a
ballad in which a contemporary occurrence in a foreign and remote
country would be transferred to Scotland and Queen Mary’s day, and so
treated as to fit perfectly into the circumstances of the time: and
this while the ballad might entirely well have been evolved from a
notorious domestic occurrence of the date 1563, the adventure of Queen
Mary’s French maid and the apothecary--which has now turned out to be
introduced into one version of the ballad.[129]
I wish to avow that the latter improbability, as put by Mr Lang, has
come to seem to me considerably greater than the former.
The coincidence of the name of the heroine is indeed at first
staggering; but it will be granted that of all the “honorable houses”
no one might more plausibly supply a forgotten maid of honor than the
house of Hamilton. The Christian name is a matter of course for a
Queen’s Mary.
384 ff., IV, 507 ff., V, 246 f.
BB.
THE QUEEN’S MARIES.
Communicated by Mr Andrew Lang as received from Mrs Arthur Smith; sung
by a nurse. 4 is clearly modern.
1
Yestreen the queen had four Maries,
But the nicht she’ll hae but three;
There was Mary Beaton, and Mary Seaton,
And Mary Carmichell, and me.
2
Oh little did my mither think,
At nicht when she cradled me,
That I wad sleep in a nameless grave
And hang on the gallows-tree.
Yestreen, etc.
3
They’ll tie a kerchief round my een,
And they’ll na let me see t’dee,
And they’ll spread my story thro a’ the land,
Till it reaches my ain countrie.
4
I wish I micht sleep in the auld kirkyard,
Beneath the hazel tree,
Where aft we played in the long simmer nichts,
My brithers and sisters and me.
176. Northumberland betrayed by Douglas.
P. 411 a. Looking through a ring. “The Dul Dauna put a ring to his eye,
and he saw his grandfather on the deck walking.” Larminie, West Irish
Folk-Tales, p. 9. G. L. K.
177. The Earl of Westmoreland.
P. 417. Dr W. H. Schofield suggests that the romance imitated in the
second part of this ballad is, Libeaus Desconus. There the hero, who is
but a child in years (in the ballad he has a child’s voice), comes to
a fair city by a river side, the lady of which is besieged by a giant,
black as pitch. Libeaus undertakes to fight the giant, and is received
by him with disdainful language. The fight is “beside the water brim.”
They break their spears at the first encounter; then fight on foot with
swords. Libeaus strikes off the giant’s head and carries it into the
town; the people come out to meet him “with a fair procession,” and the
lady invites him to be her lord in city and castle. Compare the ballad,
etc., 54-78, and Libeaus Desconus, v. 1321 ff. [See Dr Schofield’s
Studies on the Libeaus Desconus, p. 242, in Studies and Notes in
Philology and Literature published under the direction of the Modern
Language Departments of Harvard University, Vol. IV.]
178. Captain Car, or, Edom o Gordon.
IV, 513 b, =H= 2^4. Mr Macmath is convinced that the missing
(illegible) word is _orghie_ (orgeis=a fish, a large kind of ling).
182. The Laird o Logie.
P. 456. Buchan’s original MS. p. 216 ff., ‘The Laird o Logie.’
1
Lady Margaret carries the keys o the cellar,
I wyte she carries them carefullie;
Nae other ane her favour coud gain
But the winsome laird o young Logie.
2
When the king gat word o that,
I wat an angry man was he;
He’s casten him into prison strong,
And sware high hanged he shoud be.
3
Lady Margaret tore her yellow hair,
She’s torn it out locks three by three;
Says, ‘Wae to the day I eer was born,
Or knew the young laird o Logie.’
4
‘Now hold your tongue,’ the queen she said,
‘And ye’ll let a’ your folly be;
I hae minded me on a wyle
Will gain the life o young Logie.’
5
Then she has done her up the stairs,
And she fell low down on her knee;
‘Win up, win up, my dame the queen,
What makes ye bow sae low to me?’
6
‘O do you mind when we were wed,
Ye promisd askings three by three?
And a’ the boun that I now crave
Is, Save the life o young Logie.
7
‘If ye had asked lands, my dame,
Ye might had askings three by three;
But a’ the lands in fair Scotland
Winna save the life o young Logie.’
8
Then she has done her down the stairs,
But nae gude tidings brought her wi;
The king has sworn a solemn oath,
And broken it can never be.
9
‘Hold your tongue, Margaret,’ said the queen,
‘And ye’ll lat a’ your folly be;
I’ll mind me on another wyle
To gain the life o young Logie.’
10
She’s counterfeit the king’s hand write,
And she has stole his right glove tee;
And sent the jailors strict command
To loose and set young Logie free.
11
She sent him a bag o gude red gowd,
Another bag o white monie;
Likewise a pistol by his side,
And bade him shoot when he wan free.
12
As he passd by the queen’s window,
He fell low down upon his knee;
Says, ‘Peace be wi the queen hersell,
And joy be in her companie.’
13
As he passd by the king’s window,
There a proud volley then gae he;
Says, ‘Hang your dogs when ye think time,
For ye’se neer hang him, young Logie.’
14
Out then speaks the king himsell,
I wyte a solemn oath sware he;
‘I’ll wad my head an my crown baith,
I hear the voice o young Logie.’
15
The king he calld his jailors all,
He called them then three by three;
Says, ‘How are the prisoners ane and a’?
Where is the laird o young Logie?’
16
‘Did you not send your ain hand write?
Did you not send your right glove tee?
We took the keys o the jail-house door,
And loosd and set young Logie free.’
17
Then out it speaks the king again,
I wyte an angry man was he;
‘The morn, before I eat or drink,
High hanged shall you jailors be.’
18
Then out it speaks the queen hersell,
I wyte a light laugh then gae she;
‘If ye’re to hang them ane and a’,
I fear ye will begin wi me.
19
‘Did I not steal your ain hand write?
Did I not steal your right glove tee?
Then sent the jailors strict command
To loose an’ set young Logie free.’
190. Jamie Telfer.
P. 5 a first paragraph. However, “in the list of Border thieves made in
the year 1552, William Patrick, the priest, and John Nelson, the curate
of Bewcastle, are both included”: Denham Tracts, I, 150. This shows
that the society was homogeneous.
191. Hughie Grame.
P. 14, =E.= Between 12 and 13 follows in Buchan’s original MS.:
Ye’ll tell this news to Maggy my wife,
The first time ye gang oer the muir,
She is the cause I loose my life:
She bade me steal the bishop’s mare.
192. The Lochmaben Harper.
P. 21. =E= has in Buchan’s original MS. this refrain at the end of the
verse:
Hey, didentie, didentie, didentie (_bis_).
196. The Fire of Frendraught.
P. 41, note ‡. Read: The peerage of Aboyne was first created in 1626,
in favor of John Gordon, fifth son of the first Marquis of Huntly
(Viscount of Aboyne and Melgum in 1627). He married Sophia Hay, a
daughter of Francis, Earl of Errol, The Records of Aboyne, edited by
the Marquis of Huntly, New Spalding Club; 1894, pp. 325, 526.
V, 251 b, P. 44. In “But Rothiemay lie,” _may_ seems to have been
accidentally omitted. The “Turn” in Scott was probably meant for Twin,
the dot of i being omitted.
200. The Gypsy Laddie.
P. 61 ff., V, 252. The three stanzas which follow are given in H. A.
Kennedy’s “Professor Blackie: his Sayings and Doings, London, 1895”
as they were sung by Marion Stodart, Professor Blackie’s aunt, to her
sister’s children. P. 12 f. (Communicated by Mr David MacRitchie, of
Edinburgh.)
There were seven gypsies all in a row,
And they were brisk and bonny; O
They sang till they came to the Earl o Cassilis’ gate,
And there they sang sae sweetly. O
They sang sae sweet and sae complete
That doun came the fair leddy;
And when they saw her weel-faured face
They cast the glamour ower her.
So she’s taen off her high-heeled shoes,
That are made o the Spanish leather,
And she’s put on her Highland brogues,
To skip amang the heather.
“On the discovery of which the earl’ saddled to him his milk-white
steed,’ and rested not till he had hanged the seven gypsies on a tree.”
O _at the end of the second and the fourth verse of each stanza_.
216. The Mother’s Malison, etc.
P. 186 f. In ‘Majčina kletva,’ Hrvatske Pjesme iz “Naše Sloge,” II, 22,
No 18, two lovers go off in a boat, under a mother’s curse, and are
both drowned.
229. Earl Crawford.
P. 280 a, =A=, =b=. =b= was written down March 25, 1890.
234. Charlie MacPherson.
P. 310. Mr Walker of Aberdeen suggests that Billy Beg in 3 should be
Bellabeg, a small property in Strathdon. It will be observed that two
other men in the same stanza are named by their estates.
235. The Earl of Aboyne.
P. 311 b, omit the paragraph beginning =J=, and say: Charles, first
Earl of Aboyne, married for his first wife Margaret Irvine of Drum, who
died in December, 1662. (The Records of Aboyne, edited by the Marquis
of Huntly, New Spalding Club, 1894, p. 552.) The story of the ballad,
so far as is known, is an absolute fiction.
In vol. ii of _Retours_ or Services of Heirs, No 4906 (Aberdeen), 17
June, 1665, there is the entry: Domina Anna Gordoun, hæres Dominæ
Margaretæ Irving, sponsæ Comitis de Aboyne matris. (Mr Walker of
Aberdeen.)
311, V, 270. Mr Macmath has sent me this stall-copy, printed by J.
Morren, Cowgate, Edinburgh.
PEGGY IRVINE.
1
Our lady stands in her chamber-door,
viewing the Grahams are a coming;
She knew by the light of their livery so red
they were new come down from London.
2
She called on her chambermaid,
and Jeany her gentlewoman:
You’ll dress my body in some fine dress,
for yon is my good lord a coming.
3
Her smock was of the holland so fine,
her body round with busting;
Her shoes were of the small corded twine,
and her stockings silk and twisting.
4
Her petticoats was of the silk so fine,
set out with the silver and scolloping;
Her gown was of the red damask silk so fine,
trimmed with the red gold gold mounting.
5
‘You guildery maids, come trim up my gauze,
and make them silver shining;
With strawberry flowers cover all my bowers,
and hang them round with the linen.
6
‘Ye minstrels all, be on our call
when you see his horses coming;
With music spring, spare not your string
when you hear his bridles ringing.’
7
She called on Meg her chamber-maid,
and Jeanny her gentlewoman:
‘Go bring me a bottle of the good Spanish wine,
for to drink his health that’s coming.’
8
She gently tripped down the stair,
and away to the gate to meet him:
‘You are welcome, you lord of the Boyne,
you are welcome home from London.’
9
‘If this be so, come let me know,
come kiss me for my coming;
For tomorrow should have been my wedding-day
if I had staid in London.’
10
She gave the glass out of her hand,
she was a woeful woman:
‘If the morrow should be your wedding-day,
Go back to your whores in London.’
11
He looked oer his right shoulder,
his comely court behind him:
‘This is a merry welcome’ he says,
‘that we have got from London.
12
‘To your horse, to your horse, my nobles all,
to your horse, let us be going;
This night we’ll lodge in Drummond castle,
and tomorrow we’ll march to London.’
13
Now this lady has fallen sick,
and doctors we her dealing,
But at length her heart did break,
and letters sent to London.
14
He took the letter in his hand,
and loud, loud was he laughing,
But before he read it to an end,
the tears did come down rapping.
15
‘To your horse, to your horse, my nobles all,
to your horse, let’s be going;
To your horse, let us all go in black,
and mourn for Peggy Irvine.’
16
When he came to his own castle-gate,
the knight was weary weeping:
‘Cheer up your heart, you lord of Boyne,
your lady is but sleeping.’
17
‘Sleeping deary, sleeping dow,
I’m afraid she’s oer sound sleeping;
It’s I had rather lost all the lands of the Boyne
before I would have lost Peggy Irvine.’
* * * * *
4^2. set out out.
10^3. If he.
238. Glenlogie, or, Jean o Bethelnie.
P. 338 b, 2d paragraph. As to the name Melville, Mr Walker of Aberdeen
remarks: If Buchan’s story (given in his notes) of the Glenlogie
incident were correct, the maiden’s name must have been Seaton, and not
Melville, the Seatons and Urquharts being the only two names which in
historical times could be called lairds of Meldrum or Bethelnie.
248. The Grey Cock, or, Saw you my Father?
P. 390. Add to the French ballads ‘Le voltigeur fidèle,’ Beauquier,
Chansons p. recueillies en Franche-Comté, p. 338.
250. Henry Martyn.
E
P. 393. ‘Andrew Bartin,’ communicated by Miss Louise Porter Haskell as
derived from Gen. E. P. Alexander of South Carolina, and derived by
him from the singing of a cadet at West Point Military Academy in the
winter of 1856-7. Two or three slight corrections have been made by Mrs
A. C. Haskell, sister of Gen. Alexander. This copy comes nearer than
the others to the original Andrew Barton; but sts 11-13 are derived
from Captain Ward, No 287, 8, 10.
1
Three bold brothers of merrie Scotland,
And three bold brothers were they,
And they cast lots the one with the other,
To see who should go robbing all oer the salt sea;
And they cast lots the one with the other,
To see who should go robbing all oer the salt sea.
2
The lot it fell on Andrew Bartin,
The youngest of the three,
That he should go robbing all oer the salt sea,
To maintain his two brothers and he.
3
He had not sailed but one long summer night,
When daylight did appear;
He saw a ship sailing far off and far round,
At last she came sailing quite near.
4
‘Who art? who art?’ says Andrew Bartin,
‘Who art thee comes sailing so nigh?’
‘We are the rich merchants of merrie England,
Just please for to let us pass by.’
5
‘Pass by? pass by?’ says Andrew Bartin,
‘No, no, that never can be;
Your ship and your cargo I will take away,
And your brave men drown in the sea.’
6
Now when this news reached merrie England--
King George he wore the crown--
That his ship and his cargo were taken away,
And his brave men they were all drowned.
7
‘Go build me a ship,’ says Captain Charles Stewart,
‘A ship both stout and sure,
And if I dont fetch this Andrew Bartin,
My life shall no longer endure.’
8
He had not sailed but one long summer night,
When daylight did appear,
He saw a ship sailing far off and far round,
And then she came sailing quite near.
9
‘Who art? who art?’ says Captain Charles Stewart,
‘Who art comes sailing so nigh?’
‘We are the bold brothers of merrie Scotland,
Just please for to let us pass by.’
10
‘Pass by? pass by?’ says Captain Charles Stewart,
‘No, no, that never can be;
Your ship and your cargo I will take away,
And your brave men carry with me.’
11
‘Come on! come on!’ says Andrew Bartin,
‘I value you not one pin;
And though you are lined with good brass without,
I’ll show you I’ve fine steel within.’
12
Then they drew up a full broadside
And at each other let pour;
They had not fought for four hours or more,
When Captain Charles Stewart gave oer.
13
‘Go home! go home!’ says Andrew Bartin,
‘And tell your king for me,
That he may reign king of the merry dry land,
But that I will be king of the sea.’
* * * * *
2^1, etc. Bartyn. _Gen. Alexander remarks that_ “the accent was on
the last syllable.”
* * * * *
‘Row tu me, row tu me,’ says He-ne-ry Burgin,
‘Row tu me, row tu me, I prah;
For I ha tarnd a Scotch robber across the salt seas,
Tu ma-i-ntn my tew brothers and me.’
Fragment of a Suffolk Harvest Home song, remembered by an old Suffolk
divine. Contributed by Edward Fitzgerald to Suffolk Notes and Queries
in the ‘Ipswich Journal,’ 1877-78; where another stanza follows which
has no connection with the above. See ‘Two Suffolk Friends,’ by Francis
Hindes Groome, Edinburgh and London, 1895, p. 79 f.
269. Lady Diamond.
[P. 29 a. Zupitza, Die mittelenglischen Bearbeitungen der Erzählung
Boccaccio’s von Ghismonda u. Guiscardo, in Geiger’s Vierteljahrsschrift
f. Kultur u. Litteratur der Renaissance, 1886, I, 63 ff.]
29. =Italian.= =D.= ‘Ricardo e Germonda,’ communicated by P. Mazzucchi,
Castelguglielmo, July, 1894, to Rivista delle Tradizioni pop. italiane,
I, 691.
[32 ff. On these stories of the husband who gives his wife her lover’s
heart to eat, see H. Patzig, Zur Geschichte der Herzmäre, Berlin, 1891.]
34. =A= is translated by Professor Emilio Teza, ‘Donna Brigida,’ in
Rassegna Napolitana, II, 63, 1895.
272. The Suffolk Miracle.
P. 60 ff. See Professor Schischmánov in Indogermanische Forschungen,
IV, 412-48, 1894, Der Lenorenstoff in der bulgarischen Volkspoesie,
Professor Schischmánov counts more than 140 versions of The Dead
Brother, ballad and tale, in Albanian, Bulgarian, Greek, Roumanian,
and Servian, 60 of these Bulgarian. Dozon 7 is affirmed to be a mere
plagiarism. The versions of the Romaic ballad run up to 41. A very
strong probability is made out of the derivation of all of the ballads
of ‘The Dead Brother’ from the Greek.
62. Compare La Jeune Fille et l’âme de sa mère, Luzel, I, 60, 61 ff. A
girl who grieves for her dead mother, and wishes to see her again, is
directed by the curé to go three nights to the church, taking each time
an apron for her mother. The mother tears the apron into 9, 6, 3 pieces
successively.
La mère va alors trouver sa fille
Et lui parle de la sorte:
‘Tu as eu du bonheur
Que je ne t’aie mise toi-même en morceaux!
‘Que je ne t’aie mise en pièces, toute vivante,
Comme je le faisais à mes tabliers!
‘Tu augmentais mes peines, chaque jour,
Par la douleur que tu me témoignais!’
64. A dead lover takes his mistress on his horse at midnight and
carries her to the grave in which he is to be buried the following day.
Her corpse is found there, flattened out and disfigured. ‘La fiancée du
mort,’ Le Braz, La Légende de la mort en Basse-Bretagne, pp. 359-67.
[65 a. =Romaic.= Add: Georgeakis et Pineau, Le Folk-lore de Lesbos, p.
253 (in translation).]
273. King Edward the Fourth and a Tanner of Tamworth.
P. 74 f. Similar tales: Sébillot, Contes pop. de la Haute-Bretagne, II,
149 f.; Luzel, Contes pop. de la Basse-Bretagne, I, 259.
274. Our Goodman.
P. 88 a. [A version similar to that in Smith’s Scotish Minstrel, but
not absolutely identical, is mentioned in Blätter f. literarische
Unterhaltung, 1855, p. 236, as contained, with a German translation,
in “Ten Scottish Songs rendered into German. By W. B. Macdonald of
Rammerscales. Scottish and German. Edinburgh, 1854.” Professor Child
refers to this version in a MS. note. A specimen of the translation is
given in the journal just cited, as well as enough of the Scotch to
show that the copy is not exactly like Smith’s. “Vetter Macintosh” and
“der Fürst Karl” are mentioned. Macdonald’s book is not at this moment
accessible. G. L. K.]
89 f., 281 a. ‘Le Jaloux, ou Les Répliques de Marion;’ add version
from Normandy (prose), Revue des Traditions populaires, X, 136;
Hautes-Pyrénées, p. 515.
The copy in Le chroniqueur du Périgord et de Limousin is ‘La rusade,’
Poésies pop. de la France, MSS, III, fol. 84. The copy in Le Pèlerinage
de Mireille (A. Lexandre), is from Provence, and closely resembles that
in Daudet’s Numa Roumestan.
=Italian.= Add ‘Marion,’ Rivista delle Tradizioni pop. italiane, II,
34-37. ‘O Violina’ is repeated, very nearly, in a Tuscan _Filastrocca_,
Rivista delle Tradizioni pop. italiane, II, 474 f.; see also Archivio,
III, 43, No 18. A Polish ballad has some little similarity: Kolberg,
Lud, XXI, 54, No 112.
275. Get up and bar the Door.
P. 96 ff., 281. Add: ‘Le fumeur de hachich et sa femme,’ cited by R.
Basset, Revue des Traditions Populaires, VII, 189. G. L. K. [Also ‘The
First Fool’s Story,’ M. Longworth Dames, Balochi Tales, Folk-Lore, IV,
195.]
277. The Wife Wrapt in Wether’s Skin.
P. 104. From the recitation of Miss Lydia R. Nichols, Salem,
Massachusetts, as heard in the early years of this century. Sung
by a New England country fellow on ship-board: Journal of American
Folk-Lore, VII, 253 ff., 1894.
As to “drew her table,” 13, the following information is given: “I have
often heard a mother tell her daughter to ‘draw the table.’ Forty years
ago it was not uncommon to see in farmhouses a large round table, the
body of which was made to serve as an armchair. When the table was not
in use the top was tipped back against the wall. Under the chair-seat
was a drawer in which the table linen was kept. When meal-time came the
table was drawn away from the wall, the top brought down on the arms
of the chair, and the cloth, which had been fished out of the drawer,
spread over it.”
1
Sweet William he married a wife,
Gentle Jenny cried rosemaree
To be the sweet comfort of his life.
As the dew flies over the mulberry tree.
2
Jenny couldnt in the kitchen to go,
For fear of dirting her white-heeled shoes
3
Jenny couldn’t wash, and Jenny couldn’t bake,
For fear of dirting her white apurn tape.
4
Jenny couldn’t card, and Jenny couldn’t spin,
For fear of hurting her gay gold ring.
5
Sweet William came whistling in from plaow,
Says, ‘O my dear wife, is my dinner ready naow?’
6
She called him a dirty paltry whelp:
‘If you want any dinner, go get it yourself.’
7
Sweet William went aout unto the sheep-fold,
And aout a fat wether he did pull.
8
And daown on his knees he began for to stick,
And quicklie its skin he thereof did strip.
9
He took the skin and laid on his wife’s back,
And with a good stick went whikety whack.
10
‘I’ll tell my father and all my kin
How still a quarrel you’ve begun.’
11
‘You may tell your father and all your kin
How I have thrashed my fat wether’s skin.’
12
Sweet William came whistling in from plaow,
Says, ‘Oh my dear wife, is my dinner ready naow?’
13
She drew her table and spread her board,
And, ‘Oh my dear husband,’ was every word.
14
And naow they live free from all care and strife,
And naow she makes William a very good wife.
Folk-Lore Society, County Folk-Lore, Printed Extracts: No 2, Suffolk,
1893, collected and edited by the Lady Eveline Camilla Gurdon, p. 139
f. Contributed by “a Suffolk man” to the Suffolk Notes and Queries
column of The Ipswich Journal, 1877.
1
There wus a man lived in the West,
Limbo clashmo!
There wus a man lived in the West,
He married the wuman that he liked best.
With a ricararo, ricararo, milk in the morn,
O dary mingo.
2
He married this wuman and browt her hom,
And set her in his best parlour rom.
3
My man and I went to the fowd,
And ketcht the finest wuther that we could howd.
4
We fleed this wuther and browt him hom,
Sez I, ‘Wife, now youar begun yar doon.’
5
I laid this skin on my wife’s back,
And on to it I then did swack.
6
I ’inted har with ashen ile,
Limbo clashmo!
I ’inted har with ashen ile,
Till she could both brew, bake, wash and bile.
O dary mingo--mingo.
278. The Farmer’s Curst Wife.
P. 107 a. This has no connection with the story in Wendenmuth,
Œsterley, I, 366, p. 402; see Œsterley’s note, V, 60.
Compare the broadside ballad ‘The Devil and the Scold,’ Roxburghe
Collection, I, 340, 341; Chappell, Roxburghe Ballads, II, i, 367 ff.;
Collier, Book of Roxburghe Ballads, 1847, p. 35 ff.
280. The Beggar-Laddie.
P. 116. Motherwell sent a copy of =C= to Sharpe with a letter from
Paisley, 8th October, 1825, and printed =C= in an article on “Scottish
Song” in the Paisley Magazine, 1828, p. 621, in both cases with two
or three insignificant variations. He mentions in the latter another
version in which the hero is called King James, in accordance with the
vulgar traditions concerning the Gudeman o Ballengoich.
In Findlay’s MSS, I, 144, there are five unimportant stanzas, nearer to
=D= than to the other versions, and having, like =D=, the title ‘The
Gaberlunzie Laddie.’
286. The Sweet Trinity (The Golden Vanity).
P. 137. =B.= Mr Macmath has a copy of ‘The Goulden Vanitee’ in the
handwriting of Peter Scott Fraser which is identical with that printed
by Logan except that it has _Vanitee_ for _Vanitie_ in 1^3 and 9^2,
_Countree_ in 4^2, _they row’d_ in 6^1, _Oh!_ in 8^1, and _Eck
iddle dee_ (not _du_) in the burden. Mr. Macmath notes that =B= was
printed by Mrs. Gordon, in Christopher North, a Memoir of John Wilson,
Edinburgh, 1862, II, 317 ff., in a form identical with that in Mr.
Fraser’s MS. copy [except for one variation (_they’ve row’d_ for _they
row’d_ in 6^1)].
287. Captain Ward and the Rainbow.
P. 135. A copy taken down from the lips of an old Suffolk (Monk Soham)
laborer was contributed by Archdeacon Robert Hindes Groome to Suffolk
Notes and Queries in the Ipswich Journal [1877-78], and is repeated in
Two Suffolk Friends, 1895, p. 46. W. Macmath.
291. Child Owlet.
P. 156. Mr Macmath has called my attention to a ballad on the story
of Child Owlet by William Bennet in The Dumfries Monthly Magazine,
II, 402, 1826. This piece, called ‘Young Edward,’ “is founded upon
a tradition still current in the district in which Morton Castle is
situated.” Its quality is that of the old-magazine ballad.
294. Dugall Quin.
P. 165. Dugald Gunn, Mr Macmath suggests, may have been a mistaken
reading of Scott’s difficult handwriting on the part of the editor of
the Ballad Book; as is certainly the case with regard to The Stirrup of
Northumberland, V, 207 b, No 9, =G=.
I unhappily forgot Buchan’s ‘Donald M’Queen’s Flight wi Lizie Menzie,’
Ballads of the North of Scotland, II, 117, which, though I think it
corrupted at the end, removes the principal verbal difficulties in the
Old Lady’s copy. Mr Walker of Aberdeen has reminded me of Buchan’s
ballad, and he had previously suggested to me that Dunfermline was
proprietor of Fyvie, and this fact had disposed me to read Fyvie where
the text already given has farei, farie. Of the rightfulness of this
reading there can now be no doubt, though information is desirable as
to the tempting cheese of Fyvie, of which I have not found mention
elsewhere.
Buchan, II, 319, makes the following note on his copy:--
“Donald M’Queen, the hero of this ballad, was one of the servants of
Baron Seaton of Fyvie, who, with his master, had fled to France after
the rebellion in 1715. Baron Seaton having died in France, Donald,
his man, returned to Fyvie with one of his master’s best horses,
and procured a love potion, _alias_ ‘the tempting cheese of Fyvie,’
which had the effect of bewitching, or, in other words, casting the
glamour oer his mistress, Lizie Menzie, the Lady of Fyvie. Some years
afterwards this lady went through the country as a common pauper,
when, being much fatigued, and in a forlorn condition, she fell fast
asleep in the mill of Fyvie, whither she had gone to solicit an alms
(charity): on her awakening, she declared that she had just now slept
as soun a sleep with the meal-pock beneath her head, as ever she had
done on the best down-bed of Fyvie. This information I had from James
Rankin, an old blind man, who is well acquainted with the traditions
of the country.”
Alexander Seaton acquired Fyvie, it is said, in 1596, and in 1606
was created Earl of Dunfermline. Castle and title were forfeited in
1689, and the property was purchased of the crown in 1726 by the Earl
of Aberdeen. Dunfermline had no horses for Dugald or Donald to take
after 1689. The whole story of Lizie Menzie, Baroness of Seaton, seems
to be a fiction as sheer as it is vulgar. Lizie Menzie’s forsaking
her husband for a footman is refuted by the well-informed Rankin
himself, who tells us that the husband had died in France before his
man “returned to Fyvie with one of his master’s best horses.” The
conclusion is borrowed mostly from ‘The Gypsy Laddie,’ where even the
drinking of one’s own brewage is to be found; but ‘The Gypsy Laddie’ is
not to be reproached with the foolish last stanza.
1
Donald, he’s come to this town,
And he’s been lang awa,
And he is on to Lizie’s bedside,
Wi his tartan trews and a’.
2
‘How woud you like me, Lizie,’ he said,
‘An I ware a’ your ain,
Wi tartan coat upo my back,
And single-soled sheen,
A blue bonnetie on my head,
And my twa winking een?’
3
‘Weel woud I like you, Donald,’ she said,
‘An ye ware a’ my ain,
Wi tartan coat upo your back,
And single-soled sheen,
And little blue bonnetie on your head,
And blessings on your een.
4
‘But how woud ye like me, Donald,’ she said,
‘An I ware a’ your ain,
Wi a siller snood into my head,
A gowd fan in my hand,
And maidens clad in green satins,
To be at my command?’
5
‘Weel woud I like you, Lizie,’ he said,
‘And ye ware a’ my ain,
Wi a siller snood into your head,
A gowd fan in your hand,
But nane o your maidens clad in green,
To be at your command.’
6
Then but it speaks her mither dear,
Says, ‘Lizie, I maun cross you;
To gang alang wi this young man,
We’d think we had but lost you.’
7
‘O had your tongue, my mither dear,
And dinna think to break me;
For I will gang wi this young man,
If it is his will to take me.’
8
Donald M’Queen rade up the green,
On ane o Dumfermline’s horses,
And Lizie Menzie followed him,
Thro a’ her father’s forces.
9
‘O follow me, Lizie, my heart’s delight,
And follow me for you please;
Rype well the grounds o my pouches,
And ye’ll get tempting cheese.’
10
‘O wae mat worth you, Donald M’Queen!
Alas, that ever I saw thee!
The first love-token ye gae me
Was the tempting cheese o Fyvie.
11
‘O wae be to the tempting cheese,
The tempting cheese o Fyvie,
Gart me forsake my ain gudeman
And follow a footman-laddie!
12
‘But lat me drink a hearty browst,
Just sic as I did brew!
On Seton brave I turnd my back,
A’ for the sake o you.’
13
She didna wear the silken gowns
Were made into Dumbarton,
But she is to the Highlands gane,
To wear the weeds o tartan.
14
She’s casten aff the high-heeld sheen,
Made o the Turkey leather,
And she’s put on the single brogues,
To skip amo the heather.
15
Well can Donald hunt the buck,
And well can Lizie sew;
Whan ither trades begin to fail,
They can take their bowies and brew.
299. Trooper and Maid.
P. 174.
D.
‘The Trooper Lad.’ Communicated by Mr Macmath, with this note:
“Received, 21st August, 1895, at Crossmichael, from my aunt, Miss Jane
Webster. Learned by her many years ago, at Airds of Kells, from the
singing of John Coltart.”
1
The trooper lad cam to oor gate,
And oh! but he was weary,
He rapped at and chapped at,
Syne called for his kind deary.
2
The bonnie lass being in the close,
The moon was shining clearly,--
‘Ye’r welcome here, my trooper lad,
Ye’r welcome, my kind deary.’
3
She’s taen his horse by the bridle-reins,
And led him to the stable,
She’s gien him corn and hay to eat,
As much as he was able.
4
She’s taen the knight by the milk-white hand,
And led him to her chamber,
And gied him bread and cheese to eat,
And wine to drink his pleasure.
5
‘Bonnie lassie, I’ll lie near ye noo,
Bonnie lassie, I’ll lie near ye,
An I’ll gar a’ your ribbons reel
In the morning or I leave ye.’
6
. . . . . . .
. . . . . . .
And she put off her wee white smock,
Crying, ‘Laddie, are ye ready?’
* * * * * * *
7
The first time that the trumpet played
Was, Up, up and awa, man!
The next time that the trumpet played
Was, The morn’s the battle-day, man!
8
‘Bonnie lassie, I maun leave ye noo,
Bonnie lassie, I maun leave ye;
But, if e’er I come this way again
I will ca in an see ye.’
9
Bread and cheese for gentlemen,
An corn and hay for horses;
Pipes and tobacco for auld wives,
And bonnie lads for lasses.
10
‘When will us twa meet again?
When will we meet and marry?’
‘When cockle-shells turn silver bells,
Nae langer, love, we’ll tarry.’
11
So he’s taen his auld grey cloak about him noo,
An he’s ower the mountains fairly,
Crying, ‘Fare ye weel, my bonnie lass,
Fareweel, my ain kind deary.’
Mr Macmath adds the following stanza, “remembered by Miss Agnes
Macmath, 2nd January, 1896, from the singing of her mother.”
‘When will we twa meet again?
When will we meet and marry?’
‘When peace and truth come to this land,
Nae langer, love, we’ll tarry.’
305. The Outlaw Murray.
P. 186 a. Mr Macmath writes (Dec. 24, 1895) that he has examined two
boxes of MSS belonging to the late Mr George Wilson and found _not_
‘The Song of the Outlaw Murray,’ but ‘The Song of the Rid Square,’ in
a transcript (perhaps early rather than late) of the 17th century. He
thinks that by a slip of memory on Mr Wilson’s part ‘The Outlaw Murray’
was mentioned instead of this.
Fragments.
P. 202 b, last stanza. Mr Macmath has given me the following variation,
communicated (with a story of a wife carried off by fairies) by J. C.
to The Scottish Journal, II, 275, 1848.
O Alva woods are bonnie,
Tillycoultry hills are fair,
But when I think on the braes o Menstrie
It maks my heart aye sair.
* * * * *
P. 210 b, to III, 500. Mr Macmath informs me that the manuscript of
Motherwell here referred to is the same as that already printed, and
correctly printed, at III, 500 f.
FOOTNOTES:
[127] Mild Mary is an appellation which occurs elsewhere (as in No 91
=E=), and Mary Hamilton and Mary mild are interchangeable in =X=. It
is barely worth remarking that Myle, Moil, in =C=, =S=, are merely
varieties of pronunciation, and Miles in =W=, an ordinary kind of
corruption.
[128] In the 18th century we have ‘Derwentwater’ and ‘Rob Roy,’ both
of slight value; in the 17th ‘The Fire of Frendraught’ and ‘The Baron
of Brackley,’ both fairly good ballads, and others of some merit; but
nothing in either to be compared with ‘Mary Hamilton.’
[129] As to the “ballads” about the Maries mentioned by Knox, I
conceive that these may mean nothing more than verses of any sort to
the discredit of these ladies.
GLOSSARY
Notwithstanding every effort to make this glossary as complete as
possible, there remain not a few words and phrases with which I can
do nothing satisfactory. This is the case not only with ballads from
recent tradition, but with some that were taken down in writing three
hundred years ago or more.
At every stage of oral transmission we must suppose that some
accidental variations from what was delivered would be introduced,
and occasionally some wilful variations. Memory will fail at times;
at times the listener will hear amiss, or will not understand, and a
perversion of sense will ensue, or absolute nonsense,--nonsense which
will be servilely repeated, and which repetition may make more gross.
Dr Davidson informs me that one of his female relatives rendered ‘an
echo shrill did make’ (in Chevy Chace, 10) ‘an achish yirl did make,’
and that he took ‘aching or frightened earl’ to be the meaning until
he read the piece. Happy are we when we are sure of the nonsense; as
when, in The Gypsy Laddie, ‘they cast their glamourie owre her’ is
turned into ‘they called their grandmother over.’ “The combination of
two words into one,” says Dr Davidson, “is not rare in Scotch, nor is
the reverse process. For example, the word ‘hypochondriac’ is turned
into ‘keepach and dreeach,’ and the two parts often used separately.
‘I’m unco keepach’ and ‘I’m unco dreeach’ are common expressions among
old people. Imagine an etymologist, ignorant of the facts, trying to
discover the etymology of ‘keepach’ or of ‘dreeach.’” Words of one or
two syllables are long enough for the simple; a laboring man of my
acquaintance calls rheumatism ‘the tism’: what are the other syllables
to such, who understand no one of the three? Learned words do not occur
in ballads; still an old native word will be in the same danger of
metamorphosis. But, though unfamiliarity naturally ends in corruption,
mishearing may have the like effect where the original phrase is in no
way in fault; hence, perhaps, ‘with a bretther a degs ye’ll clear up my
nags,’ ‘a tabean briben kame,’ ‘I’ll have that head of thine, to enter
plea att my iollye,’ etc.
It must be borne in mind, however, that as to nonsense the burden
of proof rests always upon the expositor. His personal inability
to dispose of a reading is not conclusive; his convictions may be
strong, but patience and caution are his part and self-restraint as to
conjectures.
It is with a strong feeling of what ‘a kindly Scot’ signifies that I
offer my thanks to many gentlemen who have favored me with comments on
lists of words submitted to them. Especial acknowledgment is due to Dr
Thomas Davidson, a native of Old Deer, who has made his home in the
United States, and to Mr William Walker, of Aberdeen. Besides these, I
have to mention with gratitude the Rev. Robert Lippe, Rev. Dr Walter
Gregor, the late Dr William Alexander, Principal Sir W. D. Geddes, Dr
James Mori, Messrs William Forbes, James Aiken, David Scott, W. Carnie,
W. Cadenhead, and William Murison, all of Aberdeenshire; Dr James
Burgess, Messrs J. Logie Robertson and William Macmath, of Edinburgh;
Professor A. F. Murison, of London, and Dr Robert Wallace, M. P.;
Professor James Cappen, Queen’s University, Kingston, Ontario; Rev.
Professor J. Clarke Murray and Principal Dr W. M. Barbour, of Montreal;
Rev. Dr Alexander McDonald, St Francis Xavier’s College, Antigonish, N.
S.; Rev. Dr Waters, of Newark, N. J. For some difficult English words
help has been given by Dr W. Hand Browne of Johns Hopkins University,
Professor Manly of Brown University, and Professor Kittredge of Harvard
College.
It will be observed that ballads in the Skene MS which were derived
from the “Old Lady’s Collection” are not glossed, but the originals,
which should be substituted for Skene’s more or less incorrect copies.
[References are usually to volume, page, and stanza.]
A
=a’=, =aa=, =aw=, all.
=a’==every. a’man, I, 68, 27; II, 71, 16; 75, 13;
193, 24; IV, 46, 5, 6; 235, 10; V,
169, 6; 221, 10; 224, 22; 237, 8; 239,
36; 260 b, 5. a’body, V, 273 a.
=a=, abridgment of _have_, I, 315, 11; III, 215, 10;
440, 13; 441, 26; V, 55, 26; 79, 33; 213,
10; 224, 28; 251, 36.
=a==he, III, 54, 3, 7.
=a==I, in the phrase _a wat_ (a wait, a wite, etc.), II, 159, 11, 16,
19; 160, 10-16, 19; III, 299, 9: I know, verily, assuredly. II, 230,
6: used by a mere trick, with hardly a meaning. a’s, V, 266, 9: I’s, I
shall, will.
=a==of: III, 91, 2; 93, 36; 298, 59; 307, 10; 308, 12, 24; 309, 40 (a
trusti tre?); 349, 37, 39; 464, 11; IV, 504, 27.
=a==on. a grefe, III, 69, 268. a blode (ablode), I, 244, 9; V, 288 b,
v. 16. a row, III, 117, 24.
=a==one: I, 126, 4; 326, 7; 327, 24.
=a==ae, one single: V, 256 b, 2; 257, 6, 15; 278, 26. a warst, V, 215,
6. V, 239, 36: one and the same. =See ae.=
=a==to. abound, II, 109, 20: to go. a dee, 110, 25: to do. So, perhaps,
_abee_.
=a be=, =abe=, =a bee=, =abee=, =a beene= (with _let_), I, 356, =D b=
4; II, 29, 5; 108, 5; 159, 25; 185, 27; III, 455, 4, 8; V, 229, 35: be.
let abee with, IV, 96 f., =D= 9, 13. let abee of, IV, 97, =E= 4, 5; 98,
15; 99, 14, 15.
=abeen=, =abeene=, =aboon=, =abone=, etc., I, 315, 8; II, 468, 7; IV,
326, 16, 19: above. his hose abeen his sheen, V, 17, 35; 18, 14: his
stockings ungartered, falling above, over his shoes.
=abide=, =abyde=, III, 67, 219; 73, 345; V, 82, 24, 40: stop, wait.
III, 97, 8; 279, 13: withstand. _pret._ abode, III, 63, 143: waited.
_p. p._ abiden, abyden, III, 57 f., 25, 30: awaited.
=able=, II, 51, 4: suitable.
=ablins=, =aiblins=, III, 467, =b= 2: perhaps.
=aboard=, V, 134, 16: alongside; and so 8, 20, 22, or, _laid us aboard_
may be _boarded us_.
=abode=, III, 335 a: waiting, delay.
=abode=, III, 430, 1, _burden_: endured.
=aboone=, =aboun=, =abown=. See =abune=.
=abound.= ill a bound, II, 109, 20: ill (prepared) to go.
=about=, been, V, 52, 77: been engaged.
=abowthe=, III, 112, 52: about.
=abune=, =aboone=, =aboon=, =abon=, =abone=, =abown=, =aboun=, =abeen=,
II, 20, 8; 22, 16; 23, =D= 7, =E= 8; 24, =F= 10; 25, =G= 13; 27, 21;
28, 25; 29, 19; 30, 12; 145, 20: above (above them).
=abyde.= See =abide=.
=abyden.= See =abide=.
=abye=, III, 128, 84; V, 234 b, 3: pay, suffer consequences.
=Acaron=, III, 149, 32: being the oath of a Turk (36), this may be
taken as _Alcoran_.
=acward=, =ackward stroke=, III, 110, 17; IV, 148, 43: described as a
backhanded stroke. See =aukeward=.
=advance=, V, 147, 8: help on (?).
=aduenture=, III, 359, 90: hazard.
=aduise=, II, 436, 63: observe.
=ae==one, single: I, 310, 6; 467, 33; 478, 1; II, 77, 29; IV, 257, 10;
260, 10; 261, 9; 262, 24; 445, 1; 476, 3. ae best, I, 465, 13, 17; IV,
479, 13. ae first, I, 426, 7, 8; 494, 22. ae warst (a warst), V, 214
f., 1, 6. the ae ... the ither, III, 500 b, 7: the one ... the other.
=ae==mere, sole, ae licht o the moon, IV, 469, 4; 470, 35.
=ae==aye, always: I, 245, 7; II, 185, 40; 208, 12; IV, 247, =B= 11;
265, 13.
=aer=, I, 16, =C= 12: ear, plough.
=aevery=, III, 465, 25: voracious, very hungry. (A. S. gífre.)
=afar=, =afore=, =affore=, I, 438, =A= 1; II, 21, 15, 16; 138, 8; III,
405, 15; IV, 128 f., 19, 21, 23, 24: before.
=aff=, I, 346, 12: oft.
=affronted=, II, 367, 45; IV, 242 b: put to shame, mortified. III, 152,
6: confronted, opposed.
=a-fit=, V, 115, 7: on foot.
=aft=, III, 491, 8; V, 299 b, 4: oft.
=after=, after the way, III, 99, 57: along, on. aftere brade waye, I,
333, 1: along, over. after me, III, 74, 367: according to me, my advice.
=against=, III, 344, 36: by way of preparation for the case.
=agast of him=, III, 99, 49: alarmed about him (the consequences to
him).
=agaste=, V, 71, note †: terrified.
=agayn=(=e=), =ageyn=, III, 98, 29; 297, 46: against, =a-geyn= euyn,
III, 13, 3: towards.
=agoe=, V, 83, 44: gone.
=agree=, IV, 147, 32: bring to agreement.
=a-ȝon=, comyn a-ȝon, III, 13, 4: came upon, encountered.
=ahind=, =ahint=, =ahin=, I, 299, 14; II, 105, 11; 315, 5; III, 480,
14; 481, 30; IV, 246, 6: behind. V, 17, 32: over and above.
=aiblins=, =ablins=, I, 439, 4: perhaps.
=aileth at.= See =at=.
=air=, in a drowsy air, IV, 20, 11: _air_ seems to mean _atmosphere_
simply; possibly _disposition_, _condition_.
=air=, =aire=, =ayre=, =by air=, =by ayre=, II, 106, 1; 270, 30; III,
162, 58; 164, =b= 58; V, 270, 7: early, betimes.
=airn=, =ern=, I, 342, 33; 348, 13, 19; 355, 42; III, 474, 39; 481, 35;
505, 21: iron.
=airt=, =art=, II, 23, =E= 5: quarter of the heavens, point of the
compass, west-airt lands, II, 73, 30: western. rade the airt o, IV, 27,
31: in the direction of. a’airts o wind, II, 341, =Q=. been at that
art, III, 163, 87.
=airted=, V, 99, =C= 4: laid their course.
=aith=, oath.
=a’kin=, =a’kin kind=, II, 114, 2: all kind, every.
=’al=, that ’al, IV, 17, 3: ’ull, wull, will.
=al=, al so mote I the, III, 68, 243: absolutely.
=al=, will.
=alaffe=, III, 34, 11: aloof.
=alane=, I, 347, 2. mine alane, I, 332, =E= 1, =F= 1. See =lane=.
=alang=, along.
=albergs=, II, 340 b: houses, dwells.
=alean=, alone.
=alee=, IV, 516 b, 3: on the lea, a-field, but for the purpose of
keeping guard; cf. III, 487, =A= 15; 492, =D= 5; 495, =B b= 4.
=aleene=, I, 346, 4: alone.
=alelladay=, I, 220, =A= 1: exclamation of grief.
=algate=, IV, 93, note *: anyway.
=aliment=, IV, 91, a: provision for maintenance; here, apparently,
alimony.
=alive=, I loved ye best ye were born alive, IV, 521, 19: corrupted;
the sense appears in IV, 26, =A= 16, _I love best that’s born alive_,
best of all living things.
=all.= all and, I, 56, 6, 7; III, 432, 16, 17; all as she stood, I,
117, 16; all in my hand, III, 186, 20; all by the roode, III, 188, 2;
all by his side, V, 212 b, 8; all on, IV, 393, 5; 394, =B= 2, 5; 395
f., =B b= 2, 3, 5; V, 233 f., 2, 3, 5; all at her head, feet, V, 158,
9; all down, V, 293 b, 5; all oer, 302 b, 2.
=allacing=, IV, 18, 21: repeating of alace (alas).
=allther=, III, 57, 9; 70, 283, 284, representing the ancient genitive
plural of _all_, allther moste, allther best: best of all, etc.
=along of=, III, 279, 8: owing to.
=alongst=, V, 267 a, 7, 8: along.
=alow=, III, 4, 1: below.
=alow=, =aloe=, George Aloe, V, 133.
=als=, =alsua=, I, 327, 27; IV, 366 =D= 5: =also=.
=also=, I, 328, 46: all so, just as.
=althocht=, III, 370, 19: although.
=amain(e)=, III, 345, 48; 350, 51: with vigor, strength, force. blew,
sound, cald, amain, III, 181, 27; 341, 46; 343, 17; 344, 36: with
strength, loudly. II, 385, 24; IV, 13, 2: in force, in numbers. I, 398,
4; III, 176 f., 11, 16; 209, 9: at once, quickly.
=amain=, V, 134, 7, 16: (Fr. amener) lower, strike.
=a-married=, IV, 236, 4: married.
=a-marvel=, II, 386, 12: marvel (Fr. émerveiller).
=amense=, III, 465, 23: amends. (Should be printed as one word, not _a
mense_ as in the MS.)
=American leather=, I, 494, 14; III, 3, 13; 5, =C= 2: has been
explained as morocco made from American horsehides, for which a patent
was obtained c. 1799. See The Scots Magazine, 1799, LXI, 286. But the
date of the text at III, 3, is 1780.
=amo=, V, 306 b, 14: among.
=among=, II, 451, 89: between.
=amoued=, II, 442, 9: excited, agitated.
=an=, II, 75, 20; V, 214 b, 4: one.
=-an=, =-ane=, =-and=, =-en=, etc., annexed to the definite form of the
superlative of the adjective (preceded by _the_, _her_, etc.) or to
numerals, or following separately, seems to be _an_=_one_. (The history
of this usage has not been made out.) The firstan, nextan, firsten,
nexten, _passim_ (_the seconden_ only at I, 507, 3); the firstand, I,
135, =O= 18; the nextand, II, 94, 6; her firsten, thirden, etc., II,
161, 9-12; her nexten, II, 164, 19; the firstin, the nextin, II, 380,
22; the first an, the niest an, I, 351, 45; the warst in, the best in,
II, 98, 43, 44; the third ane, the fourth ane, etc., II, 71, 5, 6; 78,
8-11; the third one, fourth one, etc., II, 72, 5-7; the first ae, IV,
490, 20; the first y, III, 3, 15; the firsten ane, II, 370, 16. So,
that samen, II, 475, 17.
=an=, I, 295, 30; 468, 6, 9; 480, 6, 7; II, 21, =B= 11: and, if.
=ance=, =anse=, I, 341, 9; 342, 23; 344, 21, 22; V, 9, 2, 4: once.
=anchor=, did on anchor rise so high, III, 344, 34 (=c=, =g=, have
_ride_): the ship is in full sail; no apparent sense.
=ancient=, =ancyent=, III, 286, 40; 340, 37; 341, 46; 406, 30, 31, 39;
420, 20; 422, 65, 66: ensign.
=and=, _superfluous_ (as in “when that I was and a tiny little boy,”
and two other songs in Shakspere), see II, 57 b; II, 58, 7, 8; 59, 22,
27; 60, 39; 87, 31; III, 145, 6; 277, 16; 419, 8; IV, 448 a, 1, 2. The
same usage in German, Swedish, and especially Dutch ballads.
=and=, if.
=-and=, =-end=, termination of the present participle: whissland,
singand, cumand, seekand, etc., I, 326-329; II, 268, 17; IV, 195 f.,
=D= 2, 7, 10, 14; V, 192 f., 35, 49.
=ane==a, I, 327, 11.
=ane==alone. me ane, I, 333, 1.
=ane=, II, 191, 37=en, end.
=aneath=, =aneth=, II, 185, 29; 191, 23; V, 224, 17: beneath. aneath
the sun, III, 5, =D= 7: sheltering the eyes with the hand. So, below
the sun, III, 6, 6; 8, 6.
=anent=, I, 222, 8; II, 166, 21; 191, 24; 391, 20: over against, in the
face of.
=anew=, I, 305, 1; III, 495, =B b= 3-5; IV, 249, 10; 271, =B= 4:
enough, enow.
=angel(l)=, II, 444, 55; 449, 61; 453, 32; III, 156, 4; V, 101, 4: a
gold coin, of value varying from 6s. 8d. to 10s.
=angerly=, III, 286, 55; 361, =b= 21: angrily.
=ankir=, III, 66, 198: recluse, hermit.
=another=, III, 138, 8, 12, 13: _corrupt, or verbiage_.
=anse=, IV, 518, 3: once.
=answere= your quarrel, I, 411, 18: be responsible for, take on me to
settle, your difference.
=answery=, _v._, V, 283, 12: answer.
=ant=, I, 244; V, 288 b: and.
=antine= (Fr. antienne), IV, 439 =b=, 6: anthem.
=anunder=, I, 302, =A= 9: under.
=aout=, V, 304 b, 7: out.
=apayd=, euelle apayd, III, 322 a: ill satisfied, displeased.
=ape=, lead an ape in hell, penance for old maids: I, 232, 14.
=apparent=, III, 451, note *: heir apparent. (parand, II, 447, 2, 4.)
=applyed=, _p. p._, V, 51, 67: plied.
=appone=, I, 327, 14, 28: upon.
=apurn=, V, 304 b, 3: apron.
=ar=, I, 244, 18; III, 110, 18: or, before.
=arblast=, I, 311 a: cross-bow.
=archborde=, III, 340, 23, 29 (in 29, MS. charke-bord): may be a
misspelling of _hachebord_, st. 36 (_hatch-bord_, p. 342, 70). Barton
grappled the ship to his archborde, from which we should infer that
the word meant the side of the ship, as _hatch-bord_ would naturally
signify at p. 342, 70. But _archborde_ might of itself mean the stern
of the ship, a timber at the stern being still so called, and German
_hack-bord_ meaning the upper part of the stern of a ship. (It is
singular that none of the difficult words _archborde_, _hachebord_,
_hall_ (III, 340, 29) occur in the York copy, IV, 503, which, however,
has difficulties of its own.)
=archery=, III, 309, 41: collected archers.
=arches=, II, 307, 29: aims, shoots.
=are=, I, 327, 23: before.
=armorie=, I, 285, 34, seems to be employed in the sense of _armament_,
_men at arms_.
=armorye=, III, 286, 56: armor.
=arselins=, V, 124, 12: backwards.
=art=, =airt=, quarter of the heavens. been at that art, III, 163, 87:
in that quarter, at that place. See =airt=.
=as=, _pron._, I, 477, 6, 7, 13, 15; II, 4, =D= 4; 452, 14; V, 206 a,
1; b, 6: that, who.
=as=, _conj._, I, 477, 5, 18, 19; II, 453, 28: that.
=as=, V, 218 b, =D= 1: was.
=as ever=, III, 281, 10: as long as.
=asay=, _p. p._, III, 112, 48: tried. [Read _asayed_?]
=asembled=, III, 164, =b= 15: met (encountered).
=ask=, I, 353, =H= 11; 355, 41; II, 504, 32: newt, lizard. (A. S.
áðexe.) Cf. =ass=.
=askd=, my father he askd me an acre o land, I, 17, =D= 9: _askd_
seems to be an erroneous repetition from 8; _aucht_, owned, would be
expected; or _left_, _gave_, as in =K=, =L=.
=asking=, =asken=, =askend=, =askent=, II, 91, =D= 27, 28; 92, 22-25;
192, 7, 14; 194, 23; 359, 7-10; V, 221 f., 27, 29, 30, 32; 223, 5, 7;
418, 8: boon, request.
=askryede=, I, 326, 4: described.
=ass=, I, 349, 11, 15: ask, newt.
=assoyled=, absolved.
=aste=, I, 217, 1: east.
=astoned=, =astonied=, V, 76, 24; 82, 35: astonished, amazed.
=asurd=, I, 334, 5: of azure; should probably be _asur_.
=at.= reade must rise at, II, 53, 34, 35; take councell at, III, 405,
17, 23; take leaue att, III, 357, 42: from. ask at, beg at, spear at,
I, 497, =L= 5-8, =M= 2-5; III, 161, 32; 330, 15; IV, 331, 10: of, from.
ails ye at, aileth thee at, II, 72, 3; 78, 7; 80, 3; IV, 95, 12; 96, 4;
99, =H= 7: with (what ail comes to you from me?). see at me, IV, 345,
8: in. come atte, IV, 507, 81: to, to the presence of. I was at thee,
IV, 436, 1: (apud) with.
=at=, IV, 331 b, 8: out (?).
=at=, jobbing at, I, 104, =A b= 10: jogging off, away (?).
=at=, with ellipsis of _the door_, rappit at, clappit at, I, 105 a, 29;
IV, 444, 16, 35; V, 173, 1; 306 b, 1.
=at=, =att=, _pron._ and _conj._, II, 472, 24; III, 488, 19; IV, 348,
1; 446, 6; 469 b, 10, 12; V, 79, 31; 118, =B= 12; 220 b, 5; 224, 28;
236, 11^4; 256, 8: that, (_it_, V, 236, 11^2, may be for this _at_.)
=a ta=, III, 464, 1: at all.
=athort=, I, 305, 3: across (upon). far athort, V, 164, =D b= 13: a
long way.
=attempt=, III, 39, 110: tempt.
=attemptattis=, III, 451 b: enterprises.
=atteynt=, I, 328, 34: (here) lay hands on.
=attoure=, III, 458 b: outowr, over and above.
=atweel=, I, 22, 2, 3: I wot well, assuredly.
=atween=, I, 466, 11; II, 315, 6; V, 156, 11, 13: between. atween
hands, II, 139, 6: meanwhile.
=atwyn=, V, 80, 57: from one another.
=aucht=, =aught=. wha’s aucht?=who is it owned (owns)? whose is (are)?
I, 22, 4; 472, 1; II, 114, 11; 164, 8, 11; IV, 32, =C= 6; 194, 8;
199, 21; 202, 9; 203, 17. aught a bairn, II, 494, 4: had. where is
the knight aught me for wedding, IV, 182, =F= 6: who was (is) under
obligation to marry me? (This is my ransome I ought to him to pay, I,
294, 12.) It is not unlikely that _aucht_ in the phrase _wha’s aucht_
is present in sense. Indeed we have _aughts_, II, 336, =Q= 5. Cf. _who
owes?_ whose is? IV, 205, 27.
=aught=, _v._, suld hae come and aught a bairn to me, II, 494, 4: had
(a child by).
=aukeward=, =awkwarde= stroke, II, 59, 23; III, 93, 40: backhanded. See
=acward=.
=auld son=, without regard to absolute age: I, 79, 58; 184, 8, 9; IV,
94, =A= 4; 97, =F= 4. So old sister for elder sister, eldest of three:
I, 175, 8; auld dochter, II, 462, 33. auld son, of child just born and
the only one, II, 105, 7; 107, 3-6, 17; IV, 206, 15. So at II, 95, 11,
called young son immediately after. Of babe in the cradle, II, 325, 10.
See =old=.
=aull=, =auld=, old. I, 359, 6, 9, in four nights auld: at the age of
four days. II, 80, 9, in twall years auld.
=aussy pan=, I, 301, 6: ash pan.
=austerne=, I, 134, =N= 3: austere, harsh. See =osterne=.
=ava=, II, 189, 33; 323, 25; III, 7, 13, 14; IV, 257, 12; 300, 3: of
all. II, 360, 10; V, 112, =B b= 7: at all.
=avayle=, II, 436, 70: put down, doff.
=avow=, IV, 240, 7: seems to be used as _consent_ rather than _own_,
_confess_; but cf. IV, 56, =A= 8; V, 252 a.
=avowe=, _n._, III, 65, 180, 187, 190; 68, 240; 73, 346; 297, 44; 307,
1: vow.
=avowë=, =avower=, III, 67, 232; 520 a, No 161: patron, protector.
=avoyd=, V, 53, 102: begone.
=aw=, all.
=await=, lie at await, III, 409, note *: in wait.
=awaite=, =awayte=, III, 72, 330; 84, 330; 88, 331: lie in wait for.
awayte me scathe, III, 66, 202: lie in wait to do me harm.
=awende=, I, 244, 9: weened, imagined.
=awet=, III, 112, 64: know. Perhaps, await, descry.
=awkwarde= stroke, III, 93, 40: a backhanded stroke. See =aukeward=.
=awsom=, V, 193, 49: awful.
=ay=, I, 333, 1, 2, 3: a.
=ayenst=, III, 76, 420: against, towards, about.
=ayon=, =ayone=, =ayont=, I, 301, 1; 302, 1; 428, 20; II, 133, =D= 4,
6; IV, 412, 6: beyond. IV, 330 a, appendix, 1: and oddly of the man, as
farther from the wall. III, 392, 20, 21: beyond, across. I, 220, =A= 2;
IV, 8, 46: over against, in the face of.
=ayre=, =eare=, =ere=: heir.
B
=ba=, IV, 354, 1: a lullaby.
=baas=, balls.
=baba=, II, 339, 19: baby.
=bace=, V, 104 a=bash (Swed. basa): beat; _pret._ baist, III, 164, =b=
26(?). See =baist=.
=bacheeleere=, II, 58, 13: young knight devoted to the service of a
lady.
=back-spald=, V, 106, =E= 4: hinder part of the shoulder.
=bad=, =bade=, V, 18, 9; 27, 41; 243, 11: ordered, offered. (A. S.
beódan.)
=bad=, =bade=, =baed=, III, 267, 15: abode, stopped, waited for. II,
115, 22; III, 312, 28; V, 236, 17: remained, staid. (A. S. bídan.)
=badgers=, III, 477, 8: pedlars.
=baed=, II, 115, 22: abode, stopped. See =bad=.
=baffled=, II, 479: thwarted (perhaps, made a fool of). IV, 146 f., 11,
31: affronted, insulted, or disgraced.
=bail=, life in, III, 10, 19: in power, at disposal.
=bailie=, III, 385, 12: municipal officer, alderman. IV, 326, 12:
bailiff, steward, manager of an estate. See =baylye=.
=bairn=, =barn=, =bern=, III, 437, 28, 36; 453, 17; IV, 309, 5; 310,
12: child.
=baist=, _pret._, III, 164, =b= 26: beat. baste, _p. p._, III, 165, 92:
beaten. (Icel. beysta?) See =bace=.
=baked=, II, 403, 2: becked, curtsied, made obeisance.
=bale=, II, 45, 30, 44; 58, 11; 419, 51; 466, 34; III, 92, 11, 18; 99,
51: ill, trouble, mischief, harm, calamity, destruction. See =balys=.
=bale=, I, 355, 41: fire.
=bale-fire=, II, 118, 9; 119, 19; 155, 36; IV, 467, 12, 14: bonfire,
large fire.
=ballants=, IV, 129, 30: ballads.
=ballup=, III, 181, 15 (ballock): front or flap of breeches.
=balow=, IV, 351, 1; 352, =C= 1: lullaby, sing a lullaby to.
=balys=, III, 310, 68: misfortunes, troubles. See =bale=.
=ban=, =band=, I, 69, 38; 73, 53; II, 376, 36; III, 491, 12: hinge.
=ban=, =bann=, _v._, I, 304, =E= 5; 305, 6; III, 104, 8; IV, 87, 14; V,
115, 7: curse.
=ban=, =band=, =bande=, =bond=, IV, 388, 7: band. IV, 388, 11: bond.
=ban=, I, 55, 12: bound (_pret._).
=band(e)=, III, 430, 8; 431, 7: bond, compact.
=band-dogs=, =bandoggs=, III, 123, 16; 125, 31; 126, =B b= 31; =c= 31:
dogs that are kept chained (on account of their fierceness).
=banded=, IV, 388, 7: bound, secured with bands.
=bane=, I, 285, 33; III, 92, 7: destruction, death.
=bane.= saddle of the bane (MS. bone), I, 468, 13; bouer o bane, II,
185, 31: meaning probably the _royal bone_ of I, 466, 10. See =roelle
bone=.
=bane-fire=, II, 146, 23; 331, 17: bonfire.
=bang=, II, 438, 4: may be any implement for banging; it is sometimes
stick, here strap (_in_ should be _wi_).
=bang=, IV, 85, 5: emend to _hang_.
=bangisters=, IV, 37, 7; 38, 9: people violent and regardless of law.
=banis=, III, 78, 453: slayers, murderers.
=banished=, III, 401, 15: possibly with the meaning banned, but the
ordinary sense does well enough.
=bank=, sea-bank, IV, 229, 3, 7: shore (?).
=bankers=, I, 334, 9: carpets, tapestries for benches.
=banket=, III, 446 b: banquet.
=banneret=, II, 395, =N= 1: banner-bearer (see =B= 1; =E= 1; =I= 1; =K=
1; =M= 1; =P= 1).
=barck=, =bark=, II, 239, 1: birk, birch.
=barelins=, II, 212, 12: barely.
=bargain=, III, 181, 13: brawl, fight.
=barker=, V, 78, 11; 80, 43, 49, etc.; 82, 20: tanner.
=barking=, I, 109, =C= 10: who uses bark, as a tanner.
=barm=, I, 243, 7: lap.
=barn-well= thrashing, II, 322, 8: the well has no sense, and has
probably been caught from 9, at the far well washing. To be dropped.
=barn=, =barne=, II, 437, 85; IV, 141, 17; V, 114, 10; 267, 3: (A. S.
bearn) child. III, 308, 14: (A. S. beorn) man, fighting man.
=baron=, I, 293, 2; 294 f., 5, 9, 23, 28: simply knight, and that, in
all cases but the first, vaguely.
=barras=, oer the, IV, 372, 6: beyond the barriers (as 374, =A b=,
after 5).
=barrine=, bairn.
=base-court=, III, 470 b: lower or outer court.
=bassonet=, =basnet=, =basnit=, III, 298, 51, 52; 308 f., 29, 32: a
light helmet, shaped like a skull-cap.
=bat=, but.
=batit=, baited.
=batts=, blows, burden of, III, 465, 20: all the blows (beating) he can
bear.
=baubee=, =bawbee=, III, 268, 6; 269, =D= 6; 270, 4, 5; V, 242 b, 5:
halfpenny.
=baube=, II, 132, 30: babe.
=baucheld= sheen, IV, 380, 26: shoes down at the heels (ill-bukled,
wrongly, V, 276, 18).
=bay=, by.
=bayberry kame=, IV, 471 f., 2, 4: a corrupt passage, yielding no sense
(so of other readings here).
=bay dogs=, III, 126 f., =e=, =f= 31: dogs that bring to bay, or that
bay (?).
=baylleful=, III, 298, 58: destructive, deadly.
=baylye=, III, 28, 140: bailiff, sheriff’s officer (to execute writs,
etc.). III, 332, 15: chief magistrate, mayor. See =bailie=.
=bayne=, perdition.
=bayr=, V, 110, 13: =byre=, cowhouse.
=be===by. be to and al be on, I, 242, 11: by two[s] and all by one[s].
be, be that, III, 100, 73; 482, 26: by the time that. sey be, V, 79,
26: about. See =by=.
=be’s=, it be’s, III, 160, 9: shall be==it s’ be.
=be wi=, IV, 261, 23: tolerate, bear with.
=beager=, beggar.
=beagly=, V, 224, 10. See =bigly=.
=beam=, beam gold, II, 402, 10: for _beaming_? Probably corrupt.
=beame=, of the utuer beame, IV, 506, 59: utuer is perhaps utter,
outer; but what outer beam would Horsley come to in climbing the mast?
Probably corrupt. If we read, of (==on) the utter (outer) bane (bone),
which rhymes, we have to explain the outer bone of the buttocke.
=bean=, bone.
=bear=, I, 149, 6: move on, proceed.
=bear=, bier.
=bear=, beer.
=bear=, IV, 324, =C= 1: barley.
=bear-seed=, IV, 323, 6: barley; bear-seed time seems to refer to
barley-harvest.
=beare mercy=, as the lawes will thee beare, V, 53, 98: have for (as
in, bear malice, etc.).
=beare=, _pret._, II, 266, 30: bare.
=beared=, buried.
=bearing arrow=, III, 29, 150; 202, 33; 341, 53: “an arrow that carries
well,” Percy; “an arrow made to carry especially straight,” Nares;
but on the first occasion a broad arrow is used when “an arrow that
carries well” (straight) is equally, or even more, necessary, and on
the third a bearing and a broad arrow are used indifferently, III,
29, 153, 159; 341, 56. Perhaps a very long arrow, such as required to
be carried in the hand. “Longe arrowes like standarts with socetts
of stell for my Lord’s foutemen to bere in their hands, when they ryn
with my Lorde” are noted as _berrying_ arrows in the preparations for
the Earl of Northumberland’s expedition to Terouenne, 5 Henry VIII.
Dillon’s Fairholt’s Costume in England, II, 8, 1885. Mr C. J. Longman,
himself an archer, remarking that a bearing arrow is used for a range
of 20 score paces, III, 29, 148, 150, and a broad arrow for 6 score,
153, suggests that a bearing arrow was probably what is now called
a flight-arrow,--a thin, light arrow with a tapering point for long
shooting.
=bearly=, V, 219, 17: buirdly.
=beat=, IV, 379, 15: boot, recompense.
=became=, II, 422, 2: came.
=became his courtisie=, III, 464, 18: that is, his courtesy became
him (as in Shakspere’s “youth becomes the livery that it wears”). See
=become=.
=because=, III, 29, 157: in order that.
=beck=, made a beck on her knee, II, 359, 7, 9: curtsy.
=becke= (A. S. bec), I, 334, 8: stream, brook.
=become= them well, IV, 147, 22: look well in them (i.e., they became
him well); so III, 464, 18; cf. set, IV, 331, 18. place, part, does
well become me, IV, 152, =D= 2; 153, 1: suit. See =became=.
=becomed=, _pret._ of become, IV, 505, 53.
=bed=, I, 272, 9: offered. See =bede=.
=bed-head=, I, 184, 44, 46: the top of the box or case of a Scottish
bed. I, 116, =C= 5: should be bed-stock, as the rhyme shows.
=bed-stock=, I, 115, 3; IV, 94, 7; V, 208, 4: the outer side of a bed,
that farther from the wall.
=bede=, _v._, II, 499 b: offer. See =bed=.
=bedone=, I, 271, 2; II, 183, 20: worked, ornamented.
=bedyls=, III, 28, 140: under-bailiffs, summoners.
=bee-ba=, II, 330, 11, 12: sounds to lull a child.
=beeds.= that beeds, I, 69, 67: string of beads.
=beek=, =biek=, IV, 69, 22; 77, 3, =c= 3: bask.
=beenits=, IV, 381, 12: bayonets.
=beere=, II, 445, 73: bare, bore.
=beerly= (bride), II, 132, 24: large and well made; stately. See
=bierly=. beerly, burly cheer, I, 298, 4; 300, 4: great, huge.
=beet=, =bete=, =beik=, III, 495 a; IV, 517, 15: better, help. Of fire,
II, 120, 16, 17; IV, 467, 13: kindle, keep up. _p. p._ bett, II, 44,
14. See =bete=.
=beet=, II, 475, 7; III, 281, 2: behooved.
=beet=, _v._, _inf._, II, 151, =H= 2: boot, furnish with boots. _pret._
bet, 4.
=beets=, _n. pl._, IV, 187, 10: boots.
=beette=, III, 298, 54: _pret._ of beat.
=befa=, IV, 357, =C= 4: may befall (he does not care what name he
gets). IV, 357 f., 6, 8, 12, 14: belong to, suit.
=befalle=, I, 241, 2: may it befall!
=before=, taen your God before, II, 62 b, 15, representing ‘minged not
Christ before,’ II, 59, 21: an artificial-sounding expression, which
may mean, previously taken God for your helper.
=beforne=, II, 58, 15; III, 13, 12, 14: before. II, 58, 15, before
(morning).
=beft=, III, 161, 26: beat. 164, 92: beaten.
=begane=, =bigane=, IV, 366, =D= 4: overlaid, covered.
=begeck=, =begack=, give a, III, 162, 63; 164, =b= 63: play a trick on,
make a fool of. (A. S. geác, cuckoo, simpleton.)
=begoud=, =begood=, =begud=, I, 473, 11; II, 99, =B b= 9; IV, 167, =C=
10; 194, =B= 5; 195, 14; 201, 21; 203, 15; 224, 13: began.
=beguile=, _p. p._, III, 36, 41: beguiled.
=begule=, beguile.
=behad=, II, 160, 3: behold.
=behear=, II, 240 f., 7, 9; III, 93, 46; 131, 3: hear, beheard him,
III, 421, 58: heard.
=beheld=, II, 61, 12: tarried.
=behestë=, III, 90 b: promise.
=behind his hand=, a stroke behind his hand, II, 63, 24:
seems==backhanded stroke.
=behote=, III, 71, 315; _pres._, promise, thou behotë, III, 71, 297:
didst promise.
=beik=, =beet=, =bete=, on, II, 121, 20: put on fuel.
=being=, II, 410, 26: means of living.
=belinger=, IV, 74, =G b= 3: corruption or misprint for (best?) ginger.
=beliue=, =belyfe=, =b(e)lyue=, III, 4, 18; 28, 125; 29, 144; 35, 18;
84, 87, 300; 94, 53; 117, 13: soon, immediately.
=bell=, silken, III, 261, =D= 7: conical canopy? corrupted from beild,
shelter (screen)? Aytoun, with great probability, conjectures pall. Cf.
=A= 10; =E= 10; =F= 14, which support the emendation.
=Bell= (Archie), III, 491, 3, 7: billie (comrade, brother), as in =D=,
III, 492, 2.
=belle=, bere the, I, 328, 42; II, 58, 1; V, 202 b: stand foremost,
take the lead.
=bell-groat=, I, 251, =A= 3, 5. Same as next word.
=belling-great=, I, 252, 3, 5: groat for ringing bell.
=belly-=, =billie-blind=. See =Billie Blin=.
=below the sun=, lookit below the sun, II, 78, 15; III, 6, 6; in below
the sun, 8, 6. See =aneath the sun=.
=belted plaids=, IV, 84, 11; 85, 3; 87, 2; V, 253, No 203, =D= 2:
“properly twelve yards of tartan cloth worn round the waist, obliquely
across the breast and left shoulder, and partly depending backwards, ut
in bello gestatur.”
=belyfe=, straightway. See =beliue=.
=belyue.= See =beliue=.
=bemean=, V, 163, 4: bemoan, compassionate.
=ben.= Good ben be here, III, 267, 10: God’s (or good) benison?
Probably corrupt.
=ben= (shoes o, sheen o), IV, 378, 7; 380, 14: bend, bend-leather,
strong ox-leather, thickened by tanning.
=ben=, I, 56 f., =C= 2, 14; III, 267, 20; 268, 17; 270, 16; 272, 20;
274, 33: towards the inner apartment of the house, or parlor, in,
within. come farer ben, I, 369, 51; he was ben, II, 313, 16; he wood
her butt, he wood her ben, I, 56, 2. V, 216, =B a= 7; 219, 10; 242 b, 8.
=ben=, royal ben, I, 478 f., 12, 46: (emended from _bend_) bone. See
=roelle-bone=.
=benbow=, III, 54, 6; 104, 5; 132, 5; bend bow, III, 7, 4; 8, 25; 11,
6; bende bowe, III, 309, 44; bent bow, III, 8 =G= 2; 106, 16, 17: bow,
simply, the bow being in actual use only in III, 11, 54, 104 (?), 106,
16, 309.
=bend=, III, 145, 5: where the way turned (?).
=bend=, III, 362, 71: _pret._ of bend. So II, 125, =G= 6: _pret._ of
bend (should not have been changed to bent, p. 122).
=bended=, IV, 78, 1: bounded.
=benjed=, II, 403, 2; beenged, bynged, made humble obeisance, cringed.
=bent the way=, IV, 442, 13: took her course over.
=bent=, sword bent in the middle clear, middle brown, IV, 12, 11, 12:
nonsense, or close upon nonsense.
=bent=, I, 3, 1; 5, =D= 1: a coarse, reedy grass.
=bent=, =bents=, II, 58, 16, 18; 62, 11; 172, 24, 25, 27, 35, 43; III,
295, 5; 296, 20; 297, 40; 307, 5, 8; 308, 26; 312, 28; IV, 86, 3:
field, fields covered with bent grass.
=benty ground=, atween the brown and benty ground, IV, 27, 12: between
heather and bent ground.
=benty line=, III, 7, 5: line of bent grass.
=ber=, _pret._ of bear.
=berafrynd=, V, 71 b: a drinking word, in response to passilodion.
=bere=, V, 264 a, 2: bigg, a sort of coarser barley (_Hordeum
hexastichum_, not _H. vulgare_ or _distichum_).
=berl=, V, 224, 26: birl, dispense.
=bern=, =barn=, =bairn=, IV, 456, 7-9, 12; V, 247, 11: (A. S. bearn)
child.
=berne=, III, 295, 5: (A. S. beorn, fighting man, brave, etc.) man.
=berry=, brown berry comb, II, 224, 1: the material of this comb is
elsewhere said to be haw bayberry; all the passages describing it are
corrupt.
=beryde=, I, 326, 2: made a bere, noise.
=bescro=, III, 110, 26; V, 80, 49: beshrew, curse.
=bese=, I, 329, 58: shalt be.
=beside=, =besids=, III, 357, 38, 41, 43, 45-7: aside from, away from.
=beside=, in addition to, four and thirty stripes comen beside the
rood, II, 59, 29: referring to the scourging before the crucifixion.
=besom=, hid herself in the besom of the broom, I, 398, 9: besom seems
to be twigs (as _scopae_ is both twigs and broom). Wedgwood cites from
a Dutch dictionary of 1654, brem-bessen, broom-twigs, scopae spartiae.
=bespeak=: _pret._ bespa(c)ke, III, 420, 26, 30, 35; 430, 9; 431, 19,
23; bespoke, V, 149, 8-11; bespake him, I, 286, 52-5; III, 419 f., 6,
13, 22, 24: spake.
=bespeek=, IV, 498, 1, 3, 9: speak with.
=bespoke=, V, 149, 10, well-bespoke: well-spoken.
=bestand=, III, 105, 23: help, avail.
=bested=, =bestead=, circumstanced. ferre and frembde bested, III,
63, 138: in the position of one from a distance and a stranger. hard
bestead, III, 161, 36.
=bestial=, IV, 41, note *: all the animals of a farm.
=best man=, IV, 342, 4: principal servant.
=bet=, II, 151, =H= 4: booted.
=betaken=, II, 59, 38: made over.
=bete=, =beet=, III, 310, 68: better, second, relieve. See =beet=.
=beth=, =both=, III, 59, 53, 54; 79, 54: be, old plural.
=bether=, V, 283, 8: better.
=Bethine=, II, 4, 12, for rhyme: if meant for anything, Bethany is
meant, however inappropriate.
=betide=, II, 411 a, last line but two: nearest that ever fall to one,
an unlikely phrase. Motherwell reads whateer betide.
=betide=, I, 503 b, 4, what news do ye betide? i.e. what do you (does
your coming) signify? or, as at I, 205, =F= 10 (doth thee betide), what
news has befallen you, come to your knowledge?
=betide=, boots of the tangle (sea-weed) that nothing can betide, V,
259 a, 11: should read to the effect, That’s brought in by the tide.
=betook=, I, 126, 6: took (simply).
=bets=, _pl._, V, 257, 10: boots.
=bett=, II, 44, 14, _pret._ of bete, beet: kindled.
=better.= she stood, and better she stood (printed bitter), I, 492, 5;
they rode, and better they rode, I, 102, 10; 492, 10, 14; he rade and
better rade, II, 209, =D= 5: longer, farther still. better swam, V,
140, =e= 7. better be, I, 128, 13: still more.
=beuk=, book.
=bewch=, III, 91 b: bough.
=bewrailed=, V, 55, 38: berailed.
=bewray=, V, 86, 35: reveal.
=beyt=, V, 79, 25: beeth, be.
=bickering=, IV, 7, 34: (hail) pattering.
=bide=, =byde=, I, 430, 4, 5, 8, 9; II, 177, 14; 289, =A= 2; 313, 14;
III, 465, 30; V, 108, =B= 8: stay. _p. p._ bidden, IV, 262 f., 32,
33; 524, 9. bide (a doulfou day), II, 159, 23: await, look for. bide
anither bode, III, 268, 12; 270, 12: wait for another offer. I never
bade a better bode, III, 267, 15. your wedding to bide, III, 387, 11:
await. bide it whoso may, IV, 433, 21: await the result? (obscure
passage). bide frae me, V, 236, 16: stay away. In: she bade the bride
gae in, II, 195, 30, it is not likely that a rival would bid a bride;
interpret rather, she waited for the bride to go.
=bidene=, =bydene=, =bydeene=, I, 105 a, 20: immediately (or, all
together). I, 273, 34: successively, one after another. III, 65, 185:
together. III, 73, 350: simultaneously, or _en masse_.
=biek=, =beek=, IV, 77, 3: bask. See =beek=.
=bier=, III, 161, 32; V, 161, 1; 162, =D= 1: cry, lamentation.
=bierly=, =beerly= (bride), I, 467, 29; II, 75, 19; 132, 24; the same
as buirdly bride, II, 82, 51: portly, stately (large and well made).
See =buirdly=.
=big=, =bigg=, I, 15, 13; 17, 16; 108, 1; II, 330, 1; 331, 1; 332, 1:
build. _pret._ and _p. p._ biggit, bigget, IV, 202, =K= 5; 203, 13.
_pret._ bug, IV, 199, 17. _p. p._ buggin, bugn, IV, 445, 1; 446, 1.
build a stack for corn, I, 17, 12; 428, 11; V, 206 a, 8.
=bigane=, I, 334, 5: covered, wrought.
=biggeall=, beguile.
=bigging=, =biggin=, II, 115, 23, 24; 117, 10, 11; 123, 25, 26; 255,
11, 12; 257, 19, 20; IV, 128, 2-4: building, house, “properly of a
large size, as opposed to a cottage.”
=bigly= (Icelandic, byggiligr, habitable), commodious, pleasant to live
in, I, 68, 32; 107, 1, 3; II, 98, 30-32, 35, 36; 172 f., 40, 42, 45;
294, 4, 5; 370, 6; 417, 3; 419, 45: frequent epithet of bower. II, 358,
26, of a bier: handsomely wrought.
=bile=, _v._, V, 305 a, 6: boil.
=bill=, V, 15, 16, 18: a paper. bills, IV, 422, 45, 46: (the necessary
legal) papers. sworne into my bill, III, 411, 5: sworn in writing.
=bill=, I, 302, =B= 12; 303, 10; IV, 331 b, 2: bull.
=billaments=,I, 433, 17: habiliments, of head-gear.
=billie=, =billy=, comrade, brother; “a term expressive of affection
and familiarity:” I, 448, =A= 2, 4; III, 464, 2, 5, 6, 19; 467, 56;
489, 11; V, 128, 29. born billy, III, 495 b, 23, 24. See =bully=.
=Billie Blin=, =Bellie Blind=, I, 73, 35, 44; 86, 29; 466 f., 14, 23;
II, 464, 15, 16; 470, 60-63; 472, 31; V, 239, 39: see I, 67; V, 285 b.
=belly-blind=, II, 464, 15, 16: may mean here nothing more than an
innocent warlock or wizard.
=billy-pot=, I, 164, =L= 6: pot with a semicircular handle (bail)?
=binë=, be not: V, 238, 18.
=binge=, IV, 462, 30: bend.
=binkes=, I, 334, 9: benches.
=binna=, be not.
=bint=, V, 110, 12: bind, pay for.
=bird= (=burd=), I, 76, 50, 51; II, 314, 29, 30; =C= 10; 316, 12; IV,
422, 2, 5, 10: maid, lady. bird her lane, II, 313, 12, 19: maid by
herself, solitary. II, 272, 5: child, boy.
=birk.= he was standing on the birk, II, 165, 13, seems to be nonsense.
There is no birk to stand on unless the floor is birken, and nothing
could be more inept than a reference to that matter.
=birlin=, II, 28, 1: drinking. See =birl=.
=birl=, =berl=, II, 28, 1; 92, 17; 219, 6; IV, 154, 9; 166, 1; 234,
35; 385, 1: drink. II, 152, =J= 3; 299, 16; 368, 7: ply with drink.
birled in him, II, 144, 3, 4: poured into. Of dispensing both bread and
wine: II, 191, 34, 35; V, 224, 26. birled wi them, IV, 438, 8: should
apparently be birled them wi. _ptc._, birlin, II, 28, 1.
=birnande=, burning.
=birtled=, I, 273, 42: cut up.
=bisette=, I, 334, 8: devote (to the matter a space greater by two
miles).
=bit= (used with a noun instead of a diminutive), wee bit banes, I,
225, =L= 7: bits of.
=bit=, but. bit an(d), II, 30, 4; 132, 26: and also.
=bitaihte=, I, 244, 11: committed to.
=bitten=, V, 130, 13: taken in, cheated.
=bla=, III, 350, 53, 54: blow.
=blabring=, V, 247, 9: babbling. See =blobberin=.
=bla’d=, II, 21, 6: bla it, blow it.
=blaewort=, IV, 212, 6: corn bluebottle, round-leaved bell-flower,
bluebell of Scotland.
=blaise=, =blaisse=, IV, 503, 19; 505, 49: display, show forth, display
itself.
=blan=, =blane=, =blanne=, II, 53, 29; 140, 23; 265, 9; III, 309, 41;
405, 13; 406, 38; 466, 40: _pret._ of blin, stop, cease.
=blast=, V, 82, 39: puff, breathe hard.
=blate=, II, 260, 2; III, 160, 10; 163, 85: dumfoundered, abashed,
silly. spake blate, II, 470, 47, 50: bashfully, diffidently.
=blavers=, V, 213, 14: corn bluebottle (blaewort).
=blaw=, I, 15, =B= 2; 16 =C= 2: blow. _pret._ blow, III, 112, 65. _p.
p._ blawin, I, 17, =D= 1; blawn, I, 15, =B= 1; 16, =C= 1, 2. _pres. p._
blawn (blawing), II, 114, 20.
=blee=, I, 272, 13, 20, 24; 293, 1; II, 364, 26; 442, 1, 2: color,
complexion.
=bleed=, blood.
=bleed=, I, 441, 5, 7, _pret._ of bleed: bled.
=bleeze=, III, 457, =B= 4: blaze.
=blewe=, I, 326, 7: blew on a horn (see st. 10).
=blin=, blind.
=blin=, =blyn=, =blinne=, II, 138, 3; V, 14 f., 2, 20: (belin) cease,
stop. _pret._ blan. See =blan=.
=blind=, =blint=, II, 345, 26; 382, 6; IV, 265, _A b_ 8; 486, 10:
blinded.
=blink=, _n._, IV, 136, 17; 360, 15; 384, 3, 4; look, glance. IV, 390,
7, of the moon: gleam. IV, 389 b: (of time) moment.
=blink=, to look: II, 433, 6; IV, 127, 14; 351, 7; 353, 18; 416, 2; V,
53, 107; 54, 3; 154, =A= 11: glance, emit, throw a glance. III, 371,
27; IV, 256 f., 1, 10: shine, glitter. blinkin ee, IV, 194, (4,) 5;
201, 25; 203, 5; 211, 9: shining, twinkling. wha is this that blinks in
Willie’s ee? II, 189, 25: sends brightness into, whose brightness is
reflected from. nor ever did he blink his ee (at the gallows), IV, 12,
=B= 8: wink, shut, blench, his look was steadfast. cam blinkin on an
ee, II, 475, 17: winking as if blind, playing the blind.
=blint=, II, 17 b; IV, 515, 12: blinded. See =blind=.
=bliss=: bless.
=blobberin=, II, 256, 13: perhaps, blubbering, crying;
perhaps==blabring. V, 247, 9: babbling.
=block=, II, 216, 16: exchange. IV, 148, 54: bargain; lost the better
block, had the worse in a bargain or dealing.
=blood=, =blude=, II, 114, 16; 123, 13: man (disrespectfully), fellow.
=blow=, _pret._, blew.
=blowe=, II, 478, 8: blossom.
=blowe= (wynde), II, 478, 12: give vent to.
=blowe= (boste), III, 59, 59: give breath to, utter.
=blude=, =bluid=, blood. See =blood=.
=bluid is gude=, IV, 433, 21: good to dream of.
=bluntest=, III, 492, 25: stupidest.
=blutter=, III, 161, 43: dirty.
=blyue=, =belyfe=, =beliue=, III, 29, 144; 71, 300; 74, 371: quickly,
immediately.
=boad=, _n._, V, 243, 11: offer.
=boams=, fire-boams (not beams), IV, 96, =D= 3: bombs.
=board-floor=, II, 160, 5, 6: should probably be bower-floor, as in
159, 6, 9; 161, 6, 8.
=bocht=: bought.
=bocking=, III, 161, 33: vomiting, belching.
=boddom=, bottom.
=bode=, _n._, offer: III, 267, 15; 268, 12; 270, 12; 272, 14.
=bodë=, _p. p._, III, 67, 222: bidden, invited.
=bodes=, wild fowl bodes on hill, II, 410, 7: announces day. Cf. II,
230, 5, the wild fule boded day.
=bode-words=, III, 4, 19: messages.
=body=:faith, faikine, of my body, III, 180, 17; 199, 24; 216, 33; 296,
16; 472, 7; truth of my body, III, 180, =B=, 7; 181, 15, 16, 21; IV, 7,
31: either by my personal faith, or, by my body. faith in my body, III,
411, 6.
=body-clothes=; IV, 152, 7: clothes of my body.
=bold=, =bauld= (of fire), II, 116, 18; 117, 12; 119, 5, 6; 123, 18,
27: sharp, brisk.
=boldly= (understand), IV, 146, 19: freely, confidently, fully
(_verbiage_).
=bokin=, bodkin.
=bolts=, IV, 409, 1: rods, bars (to make a petticoat stand out).
=bon=, =bone=, =boune=, on the way, going. See =boun=.
=bone=, boon.
=bone=, sadle of the bone, V, 219, 13. See =bane=, =roelle-bone=.
=bonins=, by, V, 253 a, 4: in plenty (Gypsy cant).
=bonnetie=, V, 306, 2, 3: _dimin._ of bonnet.
=booting=, III, 159, 1: making of boot or booty.
=boot=, _v._, IV, 501, 26: matter. See =bote=.
=bord=, =borde=, =bowrd=, V, 78, 1; 80, 48, 49: jest, sport, amusement,
comic tale.
=bord=, II, 450, 80; 451, 84: should perhaps be _bore_, as in 445, 77.
Still, carried him out of the saddle by the impact of the spear which
bored him through is not unlikely, and we have, p. 454, 55, out of his
saddle bore him he did.
=borden=, _adj._, IV, 506, 73: of plank; borden tree, wooden plank.
=born alive=, ye were, IV, 521, 19; =A=, IV, 26, 16, has ‘That I love
best that’s born alive,’ i.e. of all that are born. The ye should be
y^t, that, and probably was so meant.
=borough-town=, =borrow’s toun=, =borrous-toun=, etc. See
=borrows-town=, =burrow-town=.
=borowe=, =borrow=, _n._ III, 59, 62-64, 66; 68, 237, 250: security.
III, 405, 9: sponsor, vindicator.
=borowe=, =borrow=, _v._, I, 309, =A= 3; II, 177, 27; III, 25, 50; 298,
69; 329, 6; IV, 33, 15-18, 20, 21: set free, deliver, ransom.
=borowehode=, III, 68, 239: securityship.
=borrows-town=, =borrous-toun=, IV, 229, 1; V, 117, =A= 6, 7; 126, 1:
borough-town, borough, corporate town. See =borough= (=burrow=)=-town=.
=boskyd=, III, 112, 60: busked, made ready. See =busk=.
=bot=, but. bot and: see =but and=.
=bot=, without. See =but=.
=bot=, II, 94, 3: behoved.
=bote=, =boote=, =boot=, II, 45, 30, 34; III, 27, 104; 94, 55; 187, 33:
help, use, advantage, (boot, _v._, IV, 501, 26: matter.)
=both=, =beth=, III, 59, 53, 54; 79, 54: be (old plural).
=bottle= (of hay), V, 114, 4: bundle.
=bottle.= be my bottle, V, 170, 1: hold my own, bear my full part, in
drinking? Corrupt?
=bottys=, butts.
=boud=, V, 176, 17: behoved, were obliged.
=bouerie=, II, 232, 1: diminutive of bower, chamber.
=bought===bucht, IV, 198, 1; 199, 17, 23: fold, pen.
=bouk=, =buik=, =buke=, II, 149, 14; IV, 127, 14; 484 a: trunk, body.
=boun=, =bowne=, =bune=, =bound=, =bownd=, =bowynd=, _v._, make ready,
go. buske yee, bowne yee, III, 91, 5; 431, 25: make ready. boun,
bound, I, 369, 44; IV, 183, 2; V, 256, 5: go. make ye boun, I, 75, 18:
go. must bound home, V, 9, 4. get up and bound your way, II, 405, 9:
go, come. bownd away, III, 161, 30; bowynd hym to ryde, III, 295, 1;
bounded for to ride, II, 118, 7: set out, went. bound him to his brand,
III, 160, 23: went, betook himself. was boon, boun, bound, II, 298, 5;
IV, 432, 2; V, 256 a, 4: going, on the way. how she is bune, II, 191,
30: going on. go boun away, IV, 224, 15, 16 (tautology): go, depart.
=boun=, =bon=, =bowne=, =bowen=, =bowyn=, =bun=, _adj._ (búinn, _p. p._
of Icelandic búa, to make ready): bound, ready. made him boun, III,
163, 76. to batell were not bowyn, III, 295, 4. make ye bowne, I, 75,
18, 22; III, 296, 28. bun to bed, bon to rest, II, 191, 26; V, 35, =B=
3. made him boun, bound, III, 163, 76; V, 81, 2: equipped himself. your
friends beene bowne, I, 210, 14: ready to come. ready boun (tautology),
IV, 432, 5. See =boun=, _v_.
=boun=, V, 300, 6: boon.
=bounties=, V, 231, 14: presents, in addition to wages.
=bountieth=, V, 9, 12: bounty, alms.
=bourde=, _v._, III, 179 b: jest.
=bourden=, III, 179 b: staff.
=bourn=, III, 470 a: brook.
=boustouslie=, =bousterously=, =boustresslie=, =boustrouslie=: I, 108,
13; IV, 446, 13; 447, 13; 465, 19, 35: boisterously, roughly.
=bout=, II, 27, 18: bolt.
=bouted=, I, 68, 4; 70, 4: bolted.
=bow=, bough.
=bow=, lintseed bow, I, 305, 14: the boll or pod containing the seeds
of flax.
=bow=, II, 28, 16: boll, a dry measure; of salt, two bushels; “for
wheat and beans, four Winchester bushels; for oats, etc., six bushels.”
Scottish, four firlots (see firlot). bow o bere, V, 264 a: boll of
barley.
=bower=, chamber: I, 65, =A= 1; 68, 25, 32; 73, 47; etc., etc. bouerie,
II, 232, 1: diminutive of the same.
=bower=, house, home: I, 56, 3; 79, 3; 80, 1; 107, 1; etc., etc. Often
indistinguishable from the above.
=bower-head=, II, 76, 11: top of the house. (Unless the reading should
be tower-head; cf. II, 74, =D= 5; 78, =I= 14, but we have an upmost ha,
highest room, II, 72, =C= 14.)
=bower-yett=, house-gate.
=bowie=, V, 306, 15: a kind of tub.
=bown=, V, 273, No 239, 4: bowed, bent.
=bowne=, =bownd=, =bowyn=. See =boun=.
=bowrd=, I, 264: comic tale. See =bord=.
=bows= (o London), I, 131, =H= 1: arches of a bridge? windings of the
river?
=box=, V, 19, 18: a compartment partitioned off in a drinking-room.
=boyt=, III, 109, 3: both.
=bra=, =braw=, I, 128, 19; V, 268, 25; 272, 3, 7, 11: brave, fine,
handsome. See =braw=.
=bracken=, =braken=, =brachan=, =breckin=, =breaken=, =breckan=,
=brecken=, =breachan=, IV, 257, =B= 7; 268, 21; 269, =d= 19, =f= 19;
272, 11, 3; 501, 28, 31, 37; V, 244, 16, 19, 20; 265 b, 19: fern, brake.
=brae=, =bra=, =bray=, hillside, hill: I, 324, 14; IV, 92, 1; 264, 15;
274, 8; 448 =a=, 3d st. braes o Yarrow, IV, 164 f., 1-9, =B= 3-5: the
equivalent word is sometimes, banks, pp. 168, 169, 170, 178; otherwise
houms, p. 168, but downs, p. 166 f., and the topography seems to
indicate hills. “Conjoined with a name, it denotes the upper part of a
country, as the Braes of Angus.” Jamieson.
=brae=, river-bank: III, 484 =a=, 32; burn-brae, IV, 275, =C b= 8.
Cholar foord brae-head, III, 482, 21?
=brae=, brow: III, 4, 17.
=braid=, IV, 399, 28: breadth. See =breed=. _Adj._, broad.
=braid= (broad) =letter=, II, 20, 3; 25, 3; 26, 3; 27, 3; 251, 2; 393,
4; IV, 118, =C= 1; 119, =D= 1; 120, 1; 373, 2; 382, 3: either a letter
on a broad sheet or a long letter. The king’s letter, II, 21, 3; 23,
=E= 3; 24, 3, is lang, and at 22, 3, is large. A braid letter has been
interpreted to be an open one, a patent, but in almost every case here
cited the letter is said to be sealed. The letter at II, 251, 2, is
private and confidential, written by a lady. Private folk write broad
letters, IV, 320, 1; 339, 13; 342, 17; 343, 7; a lady again, II, 382,
5; 395, 18; IV, 233, 20; 342, 6; 343, 2.
=brain=, II, 124, 39; 130, 28; 131, 20; 133, 9; 169, 25; 407, 10; III,
274, 33: mad.
=brake=, =break=, V, 166, 8; 306, 7: cause to break off, correct, cure.
=braken=, III, 299, 12, 14; 300, 25, 26: fern. See =bracken=.
=braken=, I, 350, 17: _p. p._ of break.
=bramly=, III, 9, 13: brambly, thorny.
=branded= (bull), III, 459, 7: of a reddish brown color.
=brank=, _n._, III, 440, 10: caper, prance, gallop.
=branken=, =branking=, III, 299, 4; 301, =D= 1: galloping.
=branks=, III, 480, 9: a sort of bridle; a halter with two pieces of
wood, instead of a leathern strap or a cord, over the nose, the whole
resembling a muzzle.
=brash=, sickness: II, 364, 20; IV, 483, 16.
=brast=, I, 370, 14, 18; V, 76, 26; 80, 45; 82, 40: burst, broke,
broken.
=brauches=, I, 271, 2: brooches. But perhaps _branches_, the clothes
embroidered with rings and sprigs.
=braw=, I, 491, 1, 2, etc.; II, 80, 3-7: comely. I, 127, 21; 467, 29;
II, 23, =E= 5: fine, handsome, finely dressed. I, 184, 11; V, 210, 11:
(of a meeting) pleasant. See =bra= and =braws=. braw wallie, IV, 296,
=F= 1: exclamation of admiration.
=brawn=, IV, 212, 5: calf of the leg.
=braws=, IV, 269, f, 19: fine things, finery.
=bray=, =brae=, hillside, hill.
=brayd on=, V, 198 b, after 52: move on, fall on.
=brayde=, =breyde=, at a brayde, III, 26, 91; of a, III, 32, 91: in a
moment, of a sudden.
=breachan.= See =bracken=.
=bread=, =breed=, =bred=, III, 339, 13, 16; 341, 42: breadth.
=bread=, broad.
=breaden=, I, 433, 9: braided (here, perhaps, woven).
=break=, =brake=, V, 166, 8; 306, 7: cause to break off, correct, cure.
=break=, till five minutes break, II, 325, 19, 20: expire.
=breaken.= See =bracken=.
=breast.= smoothd his breist and swam, II, 248, 9, 15: made it even,
level with the water. set her, his brest and swom, II, 459, 8; V, 137,
5, 9. bent his breast and swam, V, 138, =C= 3, 5; 141 b, 6, 9; 142 a,
4. lay on his brest and swumme, II, 247, 14.
=breast=, in a, IV, 11, 12, 13: in one voice (all at once, p. 13, 4).
in a breast, Scottish, sometimes=abreast, side by side.
=breast=, _v._, II, 299, 22, breast a steed: mount, by bringing the
breast to it.
=breast-mills=, II, 403, 15: mills operated by a breast-wheel.
=breastplate=, II, 380, 15; 383, 14; 385, 4, etc.; IV, 486, 6, etc.:
some part of a woman’s attire, said here to be of steel instead of
gold. Possibly a stomacher. “Curet, breastplate, or stomager.” Huloet,
1552. “Torace, also a placket, a stomacher, or brest plate for the
body.” Florio. At II, 381, 10, we have _bracelets_, which would be a
plausible emendation for _breastplate_, did not the latter occur quite
a dozen times.
=breast-wine=, II, 338, =T= 7: milk (Irish ballad).
=breathed=, II, 47, unto, 21, on, 22: does not seem to be the right
word. Possibly _breved_, gave information to (but the word is antique
for the text, and _on_ in 22 would not suit).
=brecham=, III, 480, 9: 492, 4; brechen, III, 491, 6: a straw collar
for a horse, also a pack-saddle made of straw, so more probably here,
carts not being used.
=brechan=, =brichan=, IV, 157, 7, 12, 14, 18, 19: (Gael. breacan) plaid.
=brechen.= See =brecham=.
=breckan=, =-en=, =-in=. See =bracken=.
=bred=, =brede=, V, 283, 8, 18: bread.
=bred=, =bread=, =breed=, III, 347, =c= 44, =g= 38: breadth.
=brede=, I, 242, 7: to have the whims attributed to breeding women?
(Not satisfactory, as not being sufficiently simple. Prof. Kittredge
has suggested to me gynnyst to wede, to go mad; which seems to me quite
worth considering. The rhyme with the same sound in a different sense,
is entirely allowable.)
=bree=, =brie=, I, 129, 14; 341, 3, 8, 17; 417, 13; III, 11, =K=; V,
191 f., 3, 18, 31: brow, eyebrow.
=bree=, =broth=. See =broo=.
=breed=, =bread=, =bred=, =braid=, III, 349, 38; IV, 503, 13, 16; 505,
45: breadth.
=breek-thigh=, III, 464, 15: thigh of his breeches.
=breeme=, III, 285, 19: fierce.
=breist.= See =breast=.
=bren=, =brene=, =brenne=, =brin=, II, 45, 24; 59, 32; III, 24, 29, 35;
361, =b=, =c=, 28: burn. _p. p._ brent, II, 44, 3, 14; 46, 47.
=brent= (brow), II, 191, 25; IV, 272, 2; 387, 1: high and straight.
Also, smooth, unwrinkled.
=brents=, I, 74, 76, 78: door-posts, or doors. (Icelandic brandar,
postes, Egilsson; ships’ beaks used as ornaments over the chief door of
dwellings, Vigfusson.)
=brest.= See =breast=.
=brest=, burst.
=brether=, brothers, brethren, I, 104, 10; III, 478, 15. bretheren,
III, 26, 74; 478, 14. brethern, bretherne, II, 73, 17; 160, 3, 9; III,
57, 27; 67, 217. brothren, III, 29, 148. brethen, III, 22, 4, 6; 23,
10; V, 135 b, 19.
=bretther o degs=, with a b. of d. ye’ll clear up my nags, IV, 312, 3
(the reading may be _bretlher_ ... _clean_): corrupt. “brathay an degs
would mean with old cloth and torn rags: brathay (obsolete) worn out
brats or clothes.” W. Forbes.
=breyde=, _n._, with a breyde, III, 110, 20: with a rush, in haste.
=breyde=, _v._, III, 110, 9: rushed, bounded.
=bride-steel=, =brid-stell=, =bride-stool=, =bride-styl=, IV, 181, 7,
8; 182, =F= 2, 3; 183, 2; V, 256 a, 4, 5: seat in church where the
bridegroom and bride sat before the beginning of the service.
=brie=, brow. See =bree=.
=brig=, =brigue=, I, 118, =D= 2; II, 24, 14; 177, 13, 15; 272, 13:
bridge.
=bright=, =bryghte=, I, 285, 25; 293, 2; 296, 51, 56; 327, 12, 21:
sheen, beautiful.
=brim=, II, 274, 3: sea. In, fa oure the brim, IV, 419, 16, 26, the
brim of a precipice may be meant.
=brin=, II, 146, 23; V, 223 a, No 68, =A= 22: burn.
=bring hame=, I, 76, 53; 367, 9; II, 97, 24; 425, 9, 10; V, 41, 17:
give birth to. brought King James hame, II, 345, 29: brought into the
world, (come hame, be born, see =hame=.)
=brirben=, II, 217, 2, 4. tabean brirben (printed by Herd birben) is
corrupt. A copy mentioned by Finlay had birchen; see IV, 471, 221.
=brither=, II, 163, 7, 11, 16; 164, 17; 165, 3; V, 123, 4; 299, 4:
brother.
=Brittaine=, =Litle=, I, 285, 24, 33, 37.
=brittled=, =bryttled=, =brittened=, I, 328, 51; III, 7, 7: cut up.
=broad= (=brode=) =arrow=, =brod arwe= (=aro=), III, 13, 9; 29,
153, 159; 106, 16; 307, 5; 341, 56; “catapulta.” Prompt. Parv. The
Catholicon explains catapulta to be “sagitta cum ferro bipenni, quam
sagittam barbatam vocant.” Way. Cotgrave: “Rallion. An arrow with a
forked, or barbed head; a broad arrow.” broode-headed arrowe, IV, 505,
56; 506, 64; broode-arrowe-head, 506, 59.
=broad letter.= See =braid letter=.
=broad-mouthd axe=, IV, 123, 14: broad axe.
=broad sow=, V, 91, 3: a sow that has a litter (brod=breed).
=brockit=, =brookit=, =bruckit=, I, 303, 8; 304, =E= 8, =F= 8; V, 213,
8: streaked or speckled in the face, streaked with dirt. See =broked=,
=bruchty=.
=brodinge=, II, 58, 14: shooting up, sprouting. (Old Eng. brodden.)
=brogues=, IV, 70, =G= 4; 72, =I= 7; 269 a, =d= 20; V, 265, No 227,
20; 301, No 200: coarse light shoes of horse-hide, worn especially by
Highlanders.
=broke=, =brook=, III, 69 f., 271, 274, 279; 310, 62: enjoy.
=broked cow=, III, 459, 7: a cow that has black spots or streaks mixed
with white in her face. See =brockit=.
=broken=, IV, 356, 12: bankrupt, ruined.
=broken men=, III, 473, 19, 24; IV, 41, note *: men under sentence of
outlawry, or who lived as vagabonds and public depredators, or were
separated from their clans in consequence of crimes. Jamieson.
=broo=, =brue=, =bree=, =brie=, II, 30, 11: brow.
=broo=, =brue=, =bree=, I, 160, =C= 2, =D= 3; 161, =E= 3; IV, 449, 2,
3: broth. I, 499, 4; V, 98, 9, 10: water in which something has been
boiled.
=brook=, =broke=, =bruik=, II, 189, 33, 34; 420, 7; III, 212, 8; IV,
435, 14: enjoy.
=broom-cow=, I, 394, 5: twig of broom.
=brose-cap=, II, 463, 25: pottage-, porridge-bowl.
=brot=, _p. p._, V, 296, 2, 3, etc.: brought.
=brothered=, IV, 373, 17: broidered? (He is to have a change of clothes
every month, and those embroidered?)
=brough=, V, 128, 29, 30: borough, town.
=brought hame.= See =bring hame=.
=broun=, =brown=, IV, 169, =F= 2; =G= 1 (browns, brouns, in the
MSS.). Might be thought a corruption of _brand_, but _brand_ occurs
in each case immediately after. _Brown_ for _brown blade_ would be
extraordinary.
=browen=, III, 9, 4: brewed, (_brown_ corrected from earlier MS.)
=browȝt=, =browt=, =browthe=, brought.
=brown ground=, IV, 27, 12: brown with heather.
=brown sword=, I, 70, 22; 294, 24; III, 71, 305. Brún as an epithet of
sword in Anglo-Saxon has been interpreted literally, as denoting that
the weapon was wholly or in part of bronze; also as gleaming, which
may at first seem forced. Gleaming is the meaning given to brown sword
by Mätzner, who cites three cases from romances. We have bright brown
sword, II, 139, 22; 241, 24; 266, 26, 27; and, blades both browne and
bright, III, 93, 36. The late Mr. Edward Bangs, remarking upon these
passages, suggests that the blades may have been artificially browned
with acid and then polished, as gun-barrels still are, and he refers to
P. Lacombe’s description of the magnificent sword of Charles V, Armes
et Armures, p. 221: “la lame est d’acier bruni presque noir.” We have
browne tempered blade, III, 35, 13, meaning, probably, a blade tempered
to that color.
=browt=, =browthe=, brought.
=browst=, V, 306, 12: brewage.
=bruchty=, =brucket=, =brockit=, I, 301 f., =A= 5, 9; V, 213 a, No 33,
5: spotted or streaked with dirt; of a sheep, streaked or speckled in
the face. See =brockit=.
=brue=, V, 209 a: broo, broth, soup.
=brue=, I, 334, 3: brow.
=bruik=, II, 422, 2; IV, 385, 27; V, 179, 12, 13: enjoy, possess. See
=brook=.
=brune=, III, 9, =H= 8: error for _brume_ (which is the reading in an
earlier MS.).
=brung=, _pret._, _p. p._ of bring, IV, 191, =B=, after 7; 466, 11.
=brunt=, IV, 211, 2; 392, 17; 468, 17: burnt.
=brusted=, =brusten=, II, 186, 15; IV, 2, 6: burst.
=bryde=, II, 442, 3; 478, 1: young woman.
=bryk=, III, 13, 13: breeches, hose.
=bryn=, I, 136, =R= 4: should probably be _brim_, as in =R=, =b=, =c=.
_brin_, brow, from the Icelandic, is unlikely.
=bryng= yow on your way, III, 99, 45: take, accompany.
=bryste=, I, 327, 12: burst.
=brytlyng=, =bryttlynge=, III, 307, 8; 308, 13: (breaking) cutting up.
See =brittled=.
=bucht=, =bught=, =bought=, _n._, IV, 193, 1, 2, 5; 194, 6, 9; 195 f.,
1, 3, 4; 198 f., 1, 3, 6; etc.: a small pen, usually put up in the
corner of the field, into which it was customary to drive the ewes when
they were to be milked. Jamieson.
=bucht=, =bught=, _v._, IV, 200, 1, 18; 201, 10; 205, 22: go into the
bucht, or pen. _pret._ buchted, IV, 201, 24: drove into the pen; _p.
p._, 201, 11: built a pen for (cf. 198, 8; 200, 19).
=buckle=, crisp, curl (of hair). Curling Buckle, IV, 357, =C= 6, 7: one
with hair crisped or curled.
=buckled up our lap=, II, 473, 17: fastened up apron or gown so as to
make a bag for carrying away meal.
=bucklings=, V, 183, 21: encounters?
=bud=, I, 72 f., 7, 62: behooved. See =buse=.
=bug=, IV, 199, 17, _pret._ of big: built.
=bugge=, I, 243, 1: buy.
=buggin=, =bugn=, _p. p._ of big, IV, 445 b, 1; 446 b, 1: built.
=buik=, =bouk=, IV, 485, 12, 14: body.
=buik=, =buke=, IV, 411, 2; V, 122, 9: book.
=buik=, II, 71, 10: _pret._ of bake (A. S. bóc).
=builded=, _pret._, III, 123, 4; sheltered, hid. (A. S. byldan, Scot,
bield.)
=buird=, V, 138, 11, 12, 14: board.
=buirdly=, =buirlie= (bride), II, 82, 51; 130, 8: portly, stately,
large and well made. buirdlie men, II, 315, =E= 6. See =bierly=.
=buke=, II, 165, 14: bouk, body. The verse is suspicious; more sense
could be had by reading Maist fair, etc., and making the line the
beginning of the speech of the fourth brother. See =bouk=, =buik=.
=buke=, =buik=, book.
=bukeld=, V, 276, 18. See =baucheld=.
=buld=, build, built.
=bull-baits=, I, 103, =E= 4: represents strokes, blows (cf. other
versions), and must have some such sense. Possibly a corruption of
buffets, though I see not how. A compounding of Old English _bollen_,
to strike, and of _beat_ would be unlikely. _Bull-baits_, for violent
assaults, no doubt seemed good enough to the reciter.
=bully=, =billy=, IV, 146 f., 5, 12, 18-21, etc.: brother, fellow,
mate. See =billie=.
=bullyship=, IV, 147, 29, 33: comradeship.
=bun=, II, 191, 26; IV, 45, 6: boun(d), ready to go.
=bun=, V, 267 a, 9: bound, tied up.
=bune= (how she is), II, 191, 30: going on, faring.
=burd=, =bird=, I, 69 f., 70, 72; 71, 57; II, 282, 6; III, 393, 14;
394, =K= 3; IV, 418, 2, 3, 5, etc.; 420, 2, 4, 5, etc.; 424, 1, 2, 4;
V, 228 f., 12, 22, 34, 35: damsel, maid, lady; V, 229, 32: perhaps
offspring.
=burd-alone=, he lay burd-alone, I, 298, 2: solitary, by himself; cf.
maid alone, II, 149, 2.
=Burd Alone=, II, 95, 1, 3, 4, 5: desolate, forlorn one; corruption of
Burd Helen, 96, =J= 2: cf. bird her lane.
=bure=, I, 108, 8: bore (_pret._).
=Burgesse= (=?=), IV, 503, 4; 504, 24: Bordeaux. Should probably be
Burdesse.
=burgh=, IV, 53, 15-17: town.
=burken=, II, 133, 8: birken, birchen.
=Burlow-beanie=, I, 287, 60, 65, 70, 74: =Billy Blin, which see (I, 67).
=burly=, I, 300, 4. See =beerly=.
=burn=, =bourn=, I, 438, =A= 3, 4; III, 440, 16; 460, 27: brook.
=burn-brae=, IV, 76, 1: hillside with a brook at the bottom.
=burnyssht=, III, 63, 136: shining, made bright.
=burrow-town=, =burrows-town=, IV, 288, =E= 3; 299, =d= 13: properly,
chartered town, corporate town; perhaps nothing more than a town of
some size, larger than a village. See =borrows-town=.
=bursen=, IV, 4 =b= 6: burst, bursen day, IV, 481, 20: overpoweringly
fatiguing.
=buse=, þe buse agayne, I, 328, 54: it behoves thee (other texts, thou
most). _pret._ (personal) bot, II, 94, 3; beet, III, 281, 2; bud, boud,
I, 73, 62; V, 176, 17.
=busk=, =buss= (Icel. búask, old reflexive of búa, make ready, from the
participle of which comes boun, so that busk and boun are of the same
origin and equivalent). =1.= make ready, buske you, III, 73, 340. busk
and boune, II, 24, 5; III, 434, 22. buske yee, bowne yee, III, 91, 5.
the[y] buske them bowne, he buskes him bowne, III, 285, 26, 38. they
busked and made them bowne, III, 284, 2. =2.= dress, deck. busk and
mak yow braw, II, 23, =E= 5. busk the bride, II, 104, 16, 18; 105, 10,
11; 106, 11. _p. p._ busket, III, 433, 3. weel-busked hat, IV, 199, 9:
decorated. buskit wi rings, V, 203 a. busk on you the flowers, II, 465,
3: put on as ornaments. buskit fire wi leaves, II, 411, 10: set about.
busk your ship roon (with feather beds), IV, 381, 8, cf. 10: wrap,
sheathe. =3.= betake oneself, go. I wol me buske ouer the salte see:
III, 59, 56. See =buskit=.
=buske=, III, 97, 12: bush.
=busker=, III, 252, 16: corrupt; _testament_ in other copies.
=buskit=, =-et=, III, 433, 3: dressed, buskit his bow in her hair, I,
131, 15: furnished, strung. See =busk=.
=buss=, I, 130, 16; II, 133, 8; III, 3, 6;5, =D= 7; 6, 6: bush.
=buss=, IV, 510, 4; 513 a, 1: busk, make ready, dress. See =busk=.
=busshement=, III, 71, 301: ambuscade.
=busting=, _n._, V, 301 =b=, 3: padding or the like used to improve the
figure.
=but=, _prep._, without: I, 16, 6; 420, 9, 10; 430, 3; III, 161, 30;
IV, 41 b; 326, 16; 329, =A=, =b= after 12.
=but=, III, 267, 20; 268, 17; 270, 16; 272, 20; 274, 33: towards the
outer apartment or kitchen, without, out. gae butt the house and bid
her come ben, V, 115, 6. he wood her butt, he wood her ben, I, 56 f.,
=C= 2, 14; cf. V, 219, 10. but it speaks, V, 306, 6: out speaks.
=but=, if ye be a maiden but, I, 72, 25: corrupt; read, binna maiden
yet?
=but and=, =bot and=, =but an=, =bat an===and also: I, 18, =F= 7; 69,
49; 72, 5; 345, =C= 8, 9, 10; 464, 8; 474, 36; IV, 418, 5; V, 246 b, 4,
6, 8.
=but nor hed=, II, 191, 27: but and had not.
=but than===but and, IV, 465, 23.
=by= (cf. also =be=), II, 56 a; 433, 2; III, 22, 2; 91, 2; IV, 420, 2,
4; 422, 2: about, concerning (as, by a knight I say my song). V, 272 b,
3, 7, 11; 277, 4; 278, 20 (spelled _bay_), 31: in comparison with, on
comparing (_by_ 272 b, 3^4, should perhaps be _but_; cf. 11^4). kend
thy freind by thy foe, III, 420, 18: in distinction from. by than,
III, 77, 435: by the time that. by weeke, spend forty pounds by weeke,
II, 442, 7: distributively, a week. So, by yere, III, 61, 92. he maun
do them by, V, 169, 12: do without. no far by, V, 123, 10: not far
off. called young Brichen by, I, 465, 5: called on, to. ca’d by Andrew
Lammie, IV, 302, 1: called by the name of.
=by and bye=, the keys hang at that lady by and bye, I, 471, 4: one
next to the other (?).
=by and by=, IV, 196 f., 1, 14: nigh.
=by and by=, I, 287 f., 60, 71, 75, 77; V, 122, 1; 123, 1: directly,
immediately.
=by=== aby, pay for, atone for: III, 97, 15.
=byckarte=, _pret._ of bicker, III, 307, 5: (fought) attacked (the
deer).
=byd=, must, am under necessity.
=byddys=, III, 308, 26: abides.
=byde=, III, 297, 37: wait. _p. p._ byddin, V, 202 a: staid. _pret._
byde, there was naething byde him wi, IV, 428, 11: nothing which did
remain.
=bydene.= See =bidene=.
=bye fell=, III, 440, 8: a rocky hill or piece of high land lying off
or aside of the way.
=bye-yett=, IV, 21, 10: side-gate (subsidiary, not principal).
=bygane=, gone by.
=byggande=, _ptc._, I, 327, 33: building.
=byrde=, I, 327, 22: woman (wife or maid). See =burd=.
=byre=, II, 182, 8; 184, 13; 188, 13; IV, 293, 9; 297, 9: cow-house.
=bystode=, hard bystode, III, 98, 33: hard pressed.
=bytecke=, commit to: I, 327, 29.
C
=ca=, =caw=, =call===drive, strike. ca a nail, I, 403, 13; III, 495, =B
b=, after 7. ca a pin, IV, 381, 9, 11. ca in the stake, II, 123, 14,
27. caw shoon on a steed, IV, 470, 18. ca up a gallows, II, 253, 8.
ca’d holes, V, 141 b, 8. ca hogs, II, 258, 32. ca the mare, IV, 17 f.,
5, 13. ca horse, IV, 109, 1. call sheep, II, 255, 17. caw ky, IV, 193,
13; 194, 17. ca the pleugh, V, 105, =A= 10. waft (emend from _wraft_)
was neer ca’d throw, I, 424 a, 12, 13; 425, 12, 13. ca’d the table wi
her foot, II, 313, 20. ca’d out the sheriff’s een, IV, 392, 19.
=ca’d by=, ca’d by Andrew Lammie, IV, 302, 1: called by the name of.
=caddie.= See =cadie=.
=cadger=, =cauger=, an itinerant huckster. corn-caugers, III, 479, 8
(== corn-buyers, 491, 6; corn-dealers, 492, 4).
=cadgily=, V, 115, 1: merrily.
=cadie=, =caddie=, IV, 351, 4, 5; 353, 6, 7, 9, 10, etc.: a young
fellow who does errands, or any inferior kind of work.
=caft=, IV, 330 a, appendix, 2: calved.
=cairdman=, II, 474, 9, 10: tinker, beggar.
=cald=, III, 455, 10: could.
=cale=, =call=, =calle=, V, 221, 20; 228, 19; 247, 1 (MS. calld); 248,
21; 257, 15: cold.
=call=, a call opon, V, 221, 14, 19: a call out, (simply) call.
=call=, _v._, III, 62, 113; 111, 38: address.
=calland=, II, 267, 9: lad.
=called their grandmother over=, IV, 70, =G= 2: corrupted from cast
their glamour oer her.
=caller=, =cauler=, IV, 484, after 23; 485, 19: (of air), fresh.
=cam=, _pret._ of come: III, 61, 91; 69, 259.
=came home=, =hame=, of child-birth, IV, 405, 54; 420, 5. See =bring
hame=.
=cammer=, II, 131, 6: (conjecture for _cannell_) cambric (Scottish
cammeraige, camroche).
=camovine=, IV, 212, 4; 213, 12: camomile.
=campioun=, II, 386, 18: champion.
=campy=, I, 304, 1: having the quality or make of a champion, or (name)
champion (like _kempy_).
=camric=, cambric.
=can=, II, 445, 62; 450, 67; III, 66, 210; 67, 227; 162, 55: knows.
=can=, _inf._, will never can steer ye, IV, 69, 15.
=can=, =cann=, an auxiliary of the present tense, can bee==is: II, 442,
14; 443, 30; 444, 51; 446, 93. Cf. do be (are), I, 184, 47. (may be,
II, 448, 33; 451, 100; might be, III, 452, 10, show a misunderstanding
of this.) auxiliary of the past tense,==did: II, 446, 81, 84; III, 65,
184; 67, 223; 298, 56. (Probably a corruption of gan.) cold, colde,
could, cowde,==did: I, 294, 23, 24; III, 298, 56, 59; 440, 10; IV,
3, 19; V, 278, 37. cold be, II, 443, 34; III, 413, 34: were, was.
cold see, III, 413, 32: saw, have seen. (An extension of the use of
can==gan.)
=cankerdly=, III, 160, 13; 267, 10: crossly.
=cankred=, III, 189, =A= 9: ill-humored, complaining, crabbed (Scottish
canker, to fret), with reference to the behavior in 6. But as John
shows no crooked temper to the palmers, possibly cankred is to be
taken literally as crooked (see =B= 10), having in mind Icel. kengr, a
crook of metal, English kink, etc.
=cannas=, =cannis=, =canies=, V, 239, 35; 276, 14, 15: =canvas=, coarse
cloth.
=cannel=, II, 147, 3, 4: candle.
=canny=, _adj._, IV, 303, 16; 304, 4: gentle. IV, 305, 25: cautious.
IV, 306, 17: clever, expert. V, 121 a: wily. IV, 132, =G= 4: canny
(Cannygate) seems to be for jingle, but may be a term of general
commendation.
=canny=, =cannie=, =cannilie=, _adv._, IV, 154, 4; 304, 14; 306, 29:
cautiously. IV, 133, 3, 4; 306, 18; 354, 2, 3: attentively. I, 245 f.,
11-14: carefully, expertly. I, 245, 8, 9: expertly, or gently. II, 161,
18: slowly, or softly.
=cantie=, =canty=, IV, 261, 3; 317, =F= 6; V, 115, 2: merry.
=cap=, =caup=, II, 344, 1: cup.
=cap=, =cape=, V, 230 a, 10, 11: catch, _pret._, _p. p._ caped, II,
317, =B b= 20; V, 219, 23; 271, 14: struck. See =kep=.
=cape=, V, 79, 32: cloak.
=capull-hyde=, III, 92, 7; 93, 44; 94, 48: horse-hide.
=care=, car, cart.
=care=, _v._, II, 370, 16: mind, object.
=care-bed=, II, 58, 4; 433, 3; 434, 28; 435, 47; 436 f., 58, 79 (of a
hopeless lover): almost, or quite, sick-bed; (of a mother) III, 3, 2;
so, bed of care, V, 227, 11. “care-bed lair, a disconsolate situation;
a sick-bed.” Jamieson.
=carefull=, III, 57, 28; 343, 18: full of care, sorrowful.
=carket=, =carknet=, I, 69, 56; 71, 46: necklace.
=carl=, =carle=, =carel=, =carril=, =cerl=, II, 466 f., 35, 36, 45, 46;
III, 189, =B= 10, 11; IV, 493 f., 7, 11, 30; V, 237, 6, 7; 238, 12, 13,
etc.: fellow, man of low condition, peasant.
=carlin=, =carline=, old woman, V, 26, 24; of a gentleman’s mother,
I, 71, 31; of a wealthy woman, II, 238, 1, 2, low-born woman, peasant
woman: II, 467, 40, 47; 469 f., 42, 51, 56-58; V, 26, 24.
=carlish=, churlish, uncivilized.
=carrlis=, careless.
=carnal=, II, 8, 1, 2, 4: (cornicula, corneille) crow.
=carp=, =carpe=, III, 127, play, 31; 310, 58: talk. In, harp and (or)
carp, I, 324, 5; 325, 5; 329, 2; IV, 18, 9, 10; 19, =B= 5, 6, 12; 20
f., =C= 7, =D= 7, 8; 21, =E= 8; 23, =A c= 22; 454 b; 455, 8, carp seems
to mean tell tales, probably sing or chant tales (ballads) to the harp.
See I, 329, 2, 3.
=carping=, III, 13, 1; IV, 21, 17: talk, tale.
=carry=, IV, 247, =C= 11; 253, 15: pass, allow to pass, make effective,
hold good.
=case=, =in case that=, I, 351, 38; II, 103, 1, 8; 171, 22; IV, 205,
17: against the chance that, lest.
=case=, =cassed=, V, 274, 4, 5: cause, caused.
=casey=, =cassie=, IV, 354, 4; V, 16, 2, 3, 5, 6: causeway.
=cast=, _n._, III, 68, 248: venture. (Possibly cost, outlay.)
=cast=: _pret._, coost, koost, cust, cuist, keist, kiest, kyst, kest.
_p. p._ casten, castin, coosten, custan, cuisten.
=cast=, III, 308, 17: project, intend. cast on sleepe, III, 401, 10:
thrown into a sleep, fallen asleep.
=cast=, _pret._, III, 344, 34: struck, (upcast, III, 349, 34.)
=casten=, =castin=, _p. p._ of cast, I, 245, 7; 463, 3; II, 115, 29; V,
300, 2; 306, 14.
=cat o clay=, III, 11, =L=: a roll of straw and clay wrought together,
used in building mud walls. Perhaps only a bit of clay.
=caterans=, V, 253 b, 1: robbers, Highland or Irish irregular soldiers.
(Gaelic ceatharnach, soldier.)
=cauger.= See =cadger=.
=caul=, =kell=, IV, 483, 20: a woman’s cap.
=cauler=, IV, 26, 6; 485, 19: cool, fresh. See =caller=.
=caup=, II, 472, 27: cup. See =cap=.
=cause=, in that cause to flee, II, 421, 34: exigency (such exigency
that you had to flee).
=caution=, III, 447 b; 451, note *: surety.
=cavil=, =kavil=, =kaivle=, =kevel= (Dutch kavel), I, 69, 46, 48: lot.
=caw=, =cawd=. See =ca’=.
=cawte=, III, 296, 26: wary.
=ceppet=, =kepit=, II, 410, 6; 407, 13: received, caught, when falling.
See =cap=, =cape=.
=cerl.= See =carl=.
=cerstyn=, III, 111, 44: Christian.
=certyl=, III, 14, 15: kirtle (man’s garment).
=césererá=, =sassaray=, II, 207, =A= 5; 209, =E= 5: intended for an
imitation of the sound of bells.
=chaffare=, III, 111, 33; 113, 68; V, 79, 21, 25: ware, merchandise.
=chaffe=, III, 34, 11: chuff, clown, loon, simpleton.
=chaft-blade=, III, 269, 9; V, 243, 12: jaw-bone.
=chafts=, III, 267, 16: chaps, jaws.
=chalmer=, =chamer=, =chaumer=, chamber.
=chamber thy words=, II, 435, 45: restrain, suppress, be chary of.
=changehouse=, IV, 153, =E= 3: tavern, ale-house.
=channerin=, II, 239, 11: fretting, petulant.
=chap=, knock, rap, tap: I, 107, 3, 4; 465, 11; 481, 29; II, 140, 15;
177, 14, 16; 272, 14; 313, 14; IV, 445 f., 3, 4; V, 228, 16; 306 b, 1:
of the striking of the hour, II, 371, 7.
=chaperine=, III, 514, 10, would make some sense as chapel, but the
form is unaccountable except as a popular diminutive.
=chare=, III, 250, =J= 7, 8: turn.
=charge=, IV, 457, 1, must be understood as _charge not_, forbid.
=charter= (simply): III, 358, 82. See next word.
=chartre of peace=, III, 27, 108: grant of pardon, paper condoning past
offences.
=chase=, III, 26, 74: follow up, hunt down, chase the wine, III, 169,
24: follow, keep up, like _follow strong drink_. (But a rhyme-end.)
=chaunler-chaftit=, I, 303, 6: having chafts (chops) like a chandler
(candlestick, lantern), lantern-jawed, with a long, thin face.
=chaunter=, I, 438, =B= 6: usually, tube of the bagpipe, which would
not be expected here. A book of chants would suit. Cf. Sir Hugh, III,
247, 20; 248, 14; 249, =H= 7, =I= 5, etc.
=chays=, hunting-ground.
=che=, I, 415 b: she.
=chear=, II, 193, 27: sounds expressing a state of feeling (here sad).
IV, 18, 19: referring to the evening’s entertainment, or, simply doing
and saying. See =chere=.
=chear well to=, III, 160, 11: have good cheer at.
=check=, tether’s check, V, 213, 10: spike of a tether.
=cheel=, IV, 69, 12: child, fellow.
=cheepe=, better cheepe, V, 15, 26: (price) cheaper.
=cheeped=, IV, 516, 15: chipped, broken.
=cheik=, II, 336, =P= 2, close to the cheik and chin: cheik is
door-post, chin often=gin, the contrivance for fastening, but gin would
not come in well here, and it is likely that chin is meaningless,
coming in because of its frequent association with cheek (kissed her
cheek and chin, etc.), see door-cheik.
=chelvellrye=, IV, 503, 1: corrupt. Read, _chevauchie_, excursion on
horseback? (would a progress ride, III, 343, 2.)
=chepe=, =cheepe=, _n._, bargain. better chepe, III, 69, 259: more
cheaply. gret chepe! III, 111, 34: great bargain!
=chepe=, _v._, III, 110, 26; 111, 33: cheapen, bargain for, or buy.
=chere=, =cheer=, =cheir=, =chier=, =chear=. carefull, sorry chere,
III, 57, 28; 68, 239: face, countenance. I, 109, 14; 117, 6; 330, =B=
7; II, 189, 37; III, 441, 37; IV, 20, 15: of state of mind, bearing, or
behavior. III, 66, 197; 67, 215; 75, 394; IV, 18, 19: entertainment,
merry-making. here is a symple chere, III, 59, 61. made gode chere,
III, 100, 67: repast.
=cherish=, _v._, I, 76, 19; IV, 96, =C= 11; 437, 25: cheer.
=cherry=, V, 264, 4: sherry.
=chess=, I, 86, 15: jess, strap; properly, leather strap for a hawk’s
leg (explained by R. Jamieson, hawk’s bell).
=chess=, IV, 457, =L= 8, dancin in a chess: chace? forest? Probably
corrupt, since =A= 10, =B= 10, I, 341, 343, have playing at the chess.
=chess=, =chiss= of farie, V, 165 f., 6, 9, 10: corrupt; read, cheese o
Fyvie (see V, 305 f.).
=chest=, =kist=, IV, 342, 12: coffin.
=cheue=, _v._, III, 73, 349: end. See =chewys=.
=cheverons=, III, 374, 8: gloves.
=chewys=, I, 327, 20: endest, comest off. (French chevir.) See =cheue=.
=cheys=, III, 112, 48: choose.
=child=, =chiel=, =chil=, =cheel=, child, young fellow: I, 72, 8; 367,
3; IV, 69, 12; 432, 15; V, 278, 33. as an appellation, II, 85 f., 1, 2,
6, etc.; 128 f., 1, 5, 8, etc.; 264 f., 1, 7, etc.; V, 157, 1, 6, etc.
auld chiel, V, 125, 6, 8: devil, _pl._ chylderin, III, 13, 2, 3.
=childer=, III, 478, 24; IV, 99, 11: children.
=chill=, V, 287, 16: child.
=chimly=, II, 71, 9; IV, 481, 22; V, 122, 5: chimney.
=chin=, chappit at the chin, II, 140, 15, 24; stecked doors close to
the chin, II, 336, =P= 2: gin, that is, pin. See =gin=, =pin=.
=chine=, IV, 188, 18: chin.
=chip-hole=, I, 305, 3: a hole chipped or cracked, a chink.
=chiss=, =chess=, V, 165 f., 6, 9, 10: cheese. See V, 305 f.
=chive=, II, 362, 34=schive, slice.
=chiven=, play the, III, 145, 8: “run away precipitately,” Nares;
chiven, chivin=chub, or any shy fish. chivie=fearful.
=choice=, =choise=, II, 463, 17; 469, 34; 473, 12; V, 269, 15: choose.
=choised=, chosen.
=choose=, =chose=, I, 103, 7; 329, 2; IV, 211, notes, 6: choice.
=choosed=, _p. p._, III, 440, 23.
=chossen=, _p. p._, chosen.
=christendom=, =christendame=, =christendoun=, =-doom=, I, 341, 21;
344, 20; 346, 11; 350, 24; 369, 48; 370, 15, 19: christening (as in Old
English).
=christentie=, =cristendie=, I, 286, 46; II, 53, 41; V, 192, 22, 33;
194, 65: Christendom.
=chrystall=, II, 52, 17: rock-crystal, a variety of quartz.
=church-style=, IV, 412, 14: the gate of the enclosure round a church.
=churlish=, I, 102, 2: of vulgar derivation.
=chylderin.= See =child=.
=cirsned=, _p. p._, V, 224, 19: christened.
=clade=, =clead=, =cleed=, clad.
=claes=, =claise=, I, 488, 17; II, 90, 25; IV, 18, 16; 262, 22; V, 118,
6, 7, 14: clothes.
=claiding=, =cleadin=, etc., IV, 424, 12: clothing.
=claith=, II, 131, 8: garment.
=clam=, _pret._ of climb, II, 166, 35; V, 249, 4.
=clap=, in a clap, IV, 41 b: moment.
=clap=, II, 269, 25; IV, 278, 4; 303, 18; 403, 12; 414, 25, 14; V, 125,
4; 277, 7: pat, fondle, embrace.
=clappit at=, V, 173, 1: knocked at (with ellipsis of _the door_).
=clarry=, claret.
=clatter=, IV, 21, 14: to be loquacious.
=clead=, =cleed=, =cleid=, =clied=, I, 220, =B= 6; 224, =J= 6, 7; 225,
=L= 2, 4; 504 b, 2; IV, 451 a, 2; V, 211 b, 4: clothe. _pret._ cled,
IV, 492 a, 1. _p. p._ clead, IV, 456, 1.
=cleadin=, =cleeding=, =cleiding=, =clieden=, =cliding=, _n._, II, 92,
7; 108, 6; 183, 19; 273, 24; IV, 445, 12; 457, 2, 7; 515, 4: clothing.
one of thy cleeding, II, 271, 18: dresses.
=cleare=, III, 307, 5; IV, 166, =C= 7; 477, 21; 506, 22: bright.
=cleathe=, I, 222, =F= 11, 12; V, 128, 27, 28: clothe.
=clecked=, =clekit=, _pret._, _p. p._, I, 254 a; II, 261, 7: hatched.
=cleek=, _n._ and _v._, I, 494, 13; V, 106 =E= 4; 122, 5: hook.
=clef=, _pret._ of cleave, III, 13 f., 5, 15.
=cleffe=, III, 109, 6; 112, 52: cleave.
=cleiding=, =clieden=, clothing. See =cleadin=.
=clekit=, =clecked=, I, 254 a: hatched.
=cleugh=, =clough=, III, 22, 1; IV, 6, 13; 7, 26; V, 182, 1; 250, 12: a
hollow between steep banks, narrow glen or valley, high rocky bank.
=cleynt=, _pret._, V, 80, 43: clung.
=clied.= See =clead=.
=clift=, I, 137, =A= =c= 6: cliff.
=clifting=, IV, 179, 4: clift, cleft, fissure.
=cliitt=, III, 179, 5: read _clutt_, clouted, patched.
=cling=, V, 154, 15: shrink.
=clintin=, IV, 179, =B= 1: crevice, fissure,==clifting, =A= 4.
=cloathe=, III, 93, 43; 174, 24: garment.
=clock=, IV, 3, 20, 22: limper, hobbler (Fr. clocher, Picard cloquer).
=clocken-hen=, V, 92, 15, 16: sitting hen.
=clod=, got the clod that winna cling, V, 154, 15: the loaf of bread
(?) that will not shrink (but will rise?), referring to the impending
increase of her size.
=cloks=, II, 166, 36: beetles.
=Clootie=, I, 5, 18: a name for the Devil, from cloot, the half-hoof of
a cloven-footed beast.
=close=, =closs=, enclosure, yard, and, before a house, court-yard: I,
145, 15; 146, 10, 19, 21; 147, 14; 148, =G= 10; 149, =I= 7; V, 173, 1;
279, No 257, 11; 306 b, 2. castle-yard: IV, 84, 22; 86, =C= 10; 87, 7;
89, 10. lady standing in the close pinning her gown, III, 436, 3. close
parler, III, 431, 22: securely enclosed, or fastened? 23, you are in
close: one (not trustworthy) transcript has _to chose_, which would
make easier sense. Saint Evron’s closs, I, 146, 19, 21: cloister?
=closely=, III, 470 a: covertly, without attracting observation.
=closs.= See =close=.
=cloth and fee=, III, 433, 7: clothing and wage. holde with cloth and
fee, III, 61, 107: retained by presents of clothes and money.
=clot-=, =clout-lether=, V, 79, 27: mending-leather.
=cloudy=, II, 31, =N= 1, cloudy stone: (A. S. clúdig) rocky. (Read,
cloud and stone==reef and rock?)
=clout=, _n._, V, 116, 10: patch. See =clouts=.
=clout-leather=, =clouting-leather=, V, 77, 39; =b= 39; 83, 55: leather
for mending, patching.
=clouts=, II, 463, 24; 470, 54: pieces of cloth for bed-coverings, or
sheets (linsey clouts, canvas clouts). II, 470, 53: duds, clothes. See
=clout=.
=clouty=, I, 206, 35; 207, 33; V, 110, 2; 116, 4, 5: patched.
=clud=, IV, 174, 12, clud o night: cloud.
=clunkers=, =clunkerts=, I, 305, 13; V, 213, 9: clots of dirt.
=clutt=, III, 179, 5: clouted (given wrongly cliitt).
=clyffe=, III, 91 a (play): rive, sunder, be split.
=co=, V, 250, 17, 19: quo, quoth.
=coad=, II, 132, 27. See =cod=.
=coardie=, V, 244, 7: cowardice.
=coat-neuk=, II, 107, 3, 5: corner of his coat.
=coate-armor=, III, 284, 11, 13: surcoat or tabard, embroidered with
armorial bearings, worn over the armor as a personal distinction, and
for identification, the face being concealed.
=coble=, IV, 128, 7; 359, 2, 5, etc.: boat (yawl, flat-bottomed boat).
=cock=, II, 472, 20, 28; V, 269, 14: knots, or other arrangements, of
ribbon for the hair. (French coque.)
=cockward=, I, 285, 24, 26: old cock, fool (French coquard).
=cod=, =coad=, I, 68, 29; II, 132, 27; 270, 27: pillow.
=coffer=, trunk or box, for clothes and valuables: I, 69, 60; 71, 49;
II, 375 f., 23, 26, 29; IV, 258, 19. In a commonplace with mantle: I,
350, 16; III, 244, 11; IV, 385, 26; V, 175, 2; absurdly introduced in
the first two instances; ridiculously corrupted, I, 348 f., =F= 1, 3,
13; II, 475, 5.
=coft=, I, 356, 56; 394, 9; 397, =D= 8, 10, 12; III, 11, 6; V, 118, 9;
162, =C= 7; 163, 13: bought.
=cog=, =coug=, II, 30, 6; IV, 378 f., 2, 3, 20; 379 f., 2, 4, 17-19; V,
275, 2, 3, 9: boat, vessel.
=cog=, =cogie=, II, 273 a; IV, 199, 15; 200, 17; 206, 9; V, 273 a:
milk-pail.
=coif=, =quoif=, II, 280, =B= 3; III, 514 =b=, 3; 515 a, 1, 4: cap.
=coil= (of hay), II, 233, 7: cock.
=coilyear=, V, 70 =b=: collier, charcoal-burner.
=cold=, =could=, =coud=, understood. cold of wisdome, of curtesye, I,
271, 1, 3. cold of his curtesie, I, 286, 49; V, 132, 3. cold, could,
coud his curtesye, II, 433, 10; 435, 35; III, 75, 385; V, 132, 3.
=cold=, =could=, =coud=, did. See =can=.
=cole=, III, 74, 372; 76, 421: cowl, monk’s hood, also frock, which
last is intended here, for the king wears a broad hat and puts on a
green garment when he casts off his cowl.
=coled= (high coled). See =colld=.
=coll=, _v._ See =cow=.
=coll=, cold.
=collaine=, =collayne=, =collen=, swords of, III, 298, 50: of Cologne
steel. collaine, collen brand, I, 286, 42, 43, 45.
=colld=, =coled=, cut, shaped, fashioned. high-colld hose, I, 69, 52;
71, 42. high coled stockings, I, 72, 9: made to go to the knee or above
(perhaps in contradistinction to short hose, worn by common people).
high-coled shoon, I, 73, 64. laigh-colld shoon, I, 69, 52; 71, 42; 72,
9: low-cut shoes. high-colld hat, IV, 204, 12: hat peaked before and
behind.
=colleen=, II, 497 f., 4, 13, 16: (Ir. and Sc. Gaelic cailin,
diminutive of caile, simple country maid) girl.
=collen=, of Cologne. See =collaine=.
=com=, =come=, _pret._ of come, I, 244, 10, 13; 328, 46.
=comand=, V, 80, 56: commanded. (Read, comanded?)
=comd=, _pret._ of come, III, 430, 6; 467, 61. _p. p._, I, 324, 4; III,
464, 3, 7.
=come=, _pret._ cam, com, come, coom, comd. _pret. pl._ come. _ptc.
pres._ coomin. _p. p._ comen, commen, coom, comd.
=come=, _pret. pl._ of come, III, 216, 34.
=come by= (life), IV, 515, 7: get, obtain, gain.
=comen=, =commen=, _p. p._ of come, II, 52, 19; 54, 46; III, 35, 32.
=comentye=, =comyntie=, III, 361, =b=, =c= 58: commonalty.
=comfort=, _p. p._ of comfort, II, 370, 22.
=commant=, _p. p._ of command, III, 9, 1.
=commaunded theym agayne=, III, 77, 430: _come_ has perhaps dropped
out; later editions, them to come.
=compare=, made him no compare, V, 260, No 221, 1: made no comparison
(of others) with him.
=compass=, I, 346 f., 17, 25; 351, 32, 44: circle.
=compear=, =compeir=, III, 364 b; IV, 81 b; 164 a: appear.
=comt=, count.
=complete=, sang sae sweet and sae complete, V, 301, No 200:
excellently, skilfully.
=compted=, III, 77, 437: emendation for _commytted_ of 80 and 81, 437.
(85, 88, commended for.)
=comunye=, I, 285, 31: communing.
=comyn-bell=, III, 100, 73: town bell, a clerc the commun belle rong.
Robert of Gloucester, p. 541, Hearne.
=condescend upon=, IV, 41 b, note §: particularize.
=conduction=, III, 403 a: direction, charge.
=cone=, liftet up the cone, IV, 484, a, last stanza: apparently the
face-cloth, which may have been gathered into a conical form the better
to fit the face. J. Aiken.
=conferred=, III, 336, note †: made the subject of conference.
=conform=, IV, 63 b: conformably.
=confound=, II, 443, 38; 449, 44: be the destruction of.
=conquess=, V, 191 f., 9, 13, 23, 35: conquer.
=convay.= See =convoy=.
=convë=, V, 117, 13; 268, 27, 28: convoy, escort.
=convened=, III, 409 a, note: agreed.
=convenient=, IV, 78, 4: suitable.
=convention=, made a, III, 364 a: had a meeting.
=convey.= See =convoy=.
=convoy=, =convay=, _n._, I, 252, 16; IV, 37, 15; 38, 15; 267, 14:
escort. IV, 453, 6: of attendance upon the dead.
=convoy=, =convey=, _v._, II, 27, 4: convey. IV, 267, 3, 10; 269 f.,
=f= 2, 3, =g= 3; 317, 7; 318, 12; V, 119, 12: escort, accompany part of
the way homeward, or on a journey, see a friend off, a young woman home.
=coom=, _p. p._, V, 296 a: come.
=coomin=, _ptc._, V, 296 a: coming.
=coops=, IV, 461, 4: carts (tip-carts).
=coost=, =koost=, _pret._ of cast, I, 73, 59; 102, 18; IV, 477, 6; V,
173, 3, 4. I, 74, 70; 78, 48: threw things about. _p. p._ coosten, I,
77, 5; 324, =B= 6; 371, 3.
=coot=, =queet=, IV, 212, 5: ankle.
=cop=, =coppe=, I, 244, 9; III, 123, 6: head.
=coped=, overset. See =couped=.
=cor=, =Corehead=, =Corhead=, V, 192, 37; 195 f., 35 (MS., Carhead);
196, 52: (Gaelic coire, cauldron, dell) corrie, a hollow in a hill.
Jamieson. Penman’s Core, 193, 51, 55, 58, described as a hollow on the
top of a high ridge of hills, might possibly be Penman score (score,
a deep, narrow, ragged indentation on the side of a hill, South of
Scotland. Jamieson). poor man’s core, V, 196, 52, corruption.
=corbie=, I, 253, 1; 254, =b= 1, =c= 1; III, 473, 23: raven.
=cordain=, =cordan=, =cordevine=, II, 435, 50; IV, 312, 7; 317, =F= 3:
Cordovan leather.
=cordin=, shoon laced with cordin, IV, 435, 8: cording, cord (and not
with whangs of leather).
=cordiuant=, _adj._, V, 49, 23: of Spanish, Cordovan leather.
=cored=, II, 217 f., 5, 10: covered.
=coresed= (hors), III, 61, 100: bodied (?) (later texts, corese, corse).
=corn=, II, 88, 17, 18, etc.: in Scotland, unground oats. (Here
distinguished from white meal, which is usually oat-meal.)
=corn-caugers=, III, 479, 8: cadgers, hucksters, in corn.
=corp=, II, 218, 25; 229, 11: a vulgar singular of a supposed plural;
corps, II, 217, 30; these corps, 31; cf. IV, 483, 23; 484 a, after 31.
corpes, III, 231, 97, may be corpse.
=cors=, curse.
=corse=, =corss=, I, 117, 7; 351, 31, 32, 44; IV, 53, 8; 512 a, 9; V,
161, 4: cross.
=corser=, III, 68, 256: should probably be forser==coffer (text =g= has
coffer).
=cosh=, =coush=, II, 363, 13: quiet (snug).
=cote a pye=, =coate a pie=, =cote of pie=, III, 65, 194; 80, 194; 86,
194: corruption of courtepi, short cloak or gown. (Dutch kort, short,
and pij, coat of warm woolen stuff.)
=cots=, =coats=, III, 481, 2, 6: petticoats.
=couchd=, V, 9, 12: lay, leaned.
=coug=, =cog=, V, 275 =b=, 2, 3, 9: boat.
=could=, did. See =can=.
=couls=, V, 228, 19: cools, chills.
=councell=, =counsell=, II, 58, 3; III, 58, 45; V, 62, 78: secret.
=cound=, IV, 467, 13: count.
=counsell=, II, 246, =C= 9-11; III, 217, 53: secret. See =councell=.
=counterfeit=, _p. p._, V, 300, 10: counterfeited.
=country-keeper=, V, 196, 41: “one employed in a particular district to
apprehend delinquents.” Jamieson.
=coup=, =cupe=, cup.
=couped=, =koupd=, =coped=, I, 469, 23; II, 313, 20; IV, 315, 14:
overturned.
=couper=, =cowper=, IV, 259, 7; 260, 7: buyer and seller, dealer.
=couple-root=, I, 302, 13: rafter-end (the end resting on the wall).
=courting=, III, 146, 20: demonstration of affection, embracing.
=courtnolls=, V, 85, 14: courtiers.
=courtrie=, V, 191, 5; 198 b, after 52: belonging to a court, courtiers.
=coush=, =cosh=, IV, 483 =b=: quiet.
=coustome=, IV, 507, 78: duty (the king will remit).
=cout=, =cowte=, IV, 18, 20, 21; 21, 16: colt.
=couth=, II, 357, 2: sound, word, Jamieson (the sense required, but the
suggested derivation from Icel. kviðr, A. S. cwide, is not easy).
=couent=, III, 60, 86; 357, 55: convent.
=coving-tree=, II, 193, =H= 4: meeting-tree. “A large tree in the front
of an old Scottish mansion-house, where the laird met his visitors.”
Similar to trysting-tree. Jamieson. In Roxburghshire, covin; in the
north of England, covan, coban, and even capon. Denham Tracts, II, 226
ff.
=cow=, twig. See =broom-cow=, =heather-cow=, =kow=.
=cow=, =coll= (locks), II, 423, 4, 7: clip, (brume), III, 9, =H= 8:
browse. (Norwegian kolla (Aasen), dock, take off the top.)
=cowing=, eating.
=cowper.= See =couper=.
=cowte=, colt. See =cout=.
=coxcomb=, III, 35, 19: pate.
=crabby= (crabbed), III, 488, 23: provoking.
=crack=, =crak=, II, 271, 18; 488, 6, 10; III, 161, 28; IV, 261, 3; V,
106, =E= 3: talk. III, 487, 6, 14, 16: brag. crackd (the Border-side),
IV, 146, 4: defied, challenged. (In Scott’s printed copy, _bragged_,
defied.)
=crack=, =crak=, a moment of time. in a crack, within a crack, IV, 314,
16; 315, 13; 317, =E= 6; V, 271, 13: instantly.
=crack fingers=, in grief or perplexity, II, 26, =G= 16. See =knack=.
=crae=, _pret._, V, 253 a, No 200, =B a= 8: crew.
=crak.= See =crack=.
=cramoisie=, =cramasie=, IV, 93, 8, 2, 3; 410, 17, 20; 472, 9: crimson.
=crap=, II, 261, 10; 286, 16: crop, top.
=crap=, _pret._ of creep, II, 323, 3; 330, =H= 3; 336, =P= 2; 337, 3.
=crapotee=, I, 326, 6: toad-stone, supposed to be generated in the head
of toads; “in fact, a petrifaction of the teeth of extinct fishes.”
Mätzner. Sometimes defined, smaragdus, emerald.
=cravin=, II, 335, =N= 2: asking for, demanding.
=crawen=, =crawn=, _p. p._ of craw, crow, II, 139 f., 7, 12, 22; 222,
17; IV, 473, 36.
=cray=, cry.
=credence=, III, 449 b: credit.
=creed=, _n._, IV, 262, 13, 14: blame.
=creel=, V, 122, 5, 11, 12; 123, 5, 11; 124, 4, 12: basket.
=creep=, _pret._ crap. See =crap=.
=cries=, _n._, II, 73, 22: calls, demands.
=Cristiantë=, =Cristinty=, =Cristendie=: Christendom.
=croche=, I, 413, 36: crouch.
=croft=, IV, 142 a: a piece of land adjoining a house.
=crooden=, =croodin=, =croodlin=, =croudlin=, I, 163 f., =J= 1, 2,
etc.; 165, =M= 1, =N= 1, etc.; 166, =K c= 1: cooing.
=cropped= (knee), III, 280, 26: crooked (Icel. kroppinn).
=cross=, _v._, V, 306, 6 (correct V, 166, 7^2, in accordance with this
reading): oppose. _p. p._, the sheriff was crost, III, 157, 30: balked.
=croudlin.= See =crooden=.
=crouds=, =cruds=, IV, 260, 5: curds.
=crouse=, =crouselie=, =crously=, II, 169, 9; III, 161, 28; IV, 261,
3; V, 17, 33: briskly, merrily, jubilantly. III, 493, 16: (perhaps)
bumptiously. See =crowse=.
=crow=, =craw=, =crow=. ar the coc him crowe, I, 244, 18; V, 288 b, v.
33. _p. p._ crowen, crawen, crawn.
=crowen=, _p. p._ of crow, II, 138, 7.
=crowner=, I, 141 b: coroner.
=crowse=, III, 457, =B= 5: audacious. See =crouse=.
=crowt=, I, 273, 28: draw together, pucker up.
=cruds=, _n._, IV, 260, 7, 18, 19; 262, 30; 265, =A b= 1, 11: curds.
=cry=, =crye=, proclaim, proclamation. cry in, III, 320, =A b= 7: call
in. cry on, upo, I, 127, 6; II, 150, 13; III, 318, 7; IV, 7, 24: call
upon, summon. cryed out on Robyn Hode, III, 70, 296: cried out against,
or, simply, cried out “R. H.”
=cryance=, II, 58 f., 18, 20, 21: cowardice, faintheartedness
(disposition to succumb).
=cud=, V, 104 a: cudgel.
=cuddy=, IV, 69, 6: ass.
=cuirt=, _pret._, I, 439, =C= 11: covered.
=cuist=, =cust=, _pret._ of cast, II, 248, 1, 2; IV, 68, =E= 2; 182,
=G= 5; 394, =C= 1; V, 116, 5. keist, kiest, I, 69, 46; 75, 36; 80, 4.
=cuisten=, _p. p._ of cast, I, 495, 11. See =custan=.
=cum=, V, 191, 8: become.
=cum=, _pret._ of come, III, 386, 22.
=cumand=, _ptc._, V, 192 f., 35, 49: coming.
=cumber=, V, 53, 104: oppress, torment. See =cumre=.
=cumbruk=, cambric.
=cummers=, V, 106, =E= 2: gossips (commères).
=cumre=, _n._, IV, 316, 19: cumber, trouble. See =cumber=.
=cun thanke=, III, 68, 242: am, feel, grateful.
=cunnes.= nones cunnes, I, 244, 11: of no kind. enes cunnes, I, 244,
12: of any kind.
=cunning=, V, 82, 21: craft (mystery, trade).
=curch=, =curche=, II, 131, 6; III, 472, 10: kerchief, woman’s head
covering.
=cure=, III, 262, 7: pains. McNaughtoun’s cure, II, 386, 25:
“McNaughtoun’s cure to ye is, Devil relieve ye.” Motherwell.
=curn=, III, 160, 19; IV, 85, 3: quantity, parcel, pack.
=curst turne=, III, 93, 34: malignant, spiteful, ferocious job, piece
of work, feat.
=curstlye=, V, 53, 104: fiercely, savagely.
=curtal= (frier), III, 124 ff., 6, 7, 11, 13, etc.: (Lat. curtilarius)
having charge of, attached to, the vegetable garden of a monastery.
curtal dogs, 125, 34.
=cust=, _pret._ of cast, V, 116, 5. See =cuist=.
=custan=, _p. p._ of cast, III, 4, 2.
=cut=, V, 202 a: horse.
=cut=, V, 112, 7; 124, 6; 125, 5: bite, gnaw.
=cutted= (friar), III, 123, 3, 11, 13, 15, 17: short-frocked (but
apparently a corruption of curtal, see III, 121 f.).
=cutters=, III, 228, 10: bravos, robbers.
=cuttie=, I, 72, 13; 74, 74: short.
=cutties=, II, 470, 49: spoons.
=cweet=, =queet=, II, 96, =I= 3: ankle.
=cypress queen=, as fair as a cypress queen, V, 164, 15: Cyprus, Cypris
(Venus).
D
=’d=, for ’t (it). bla’d wind, bla’d weet, II, 21, 6; doo’d, IV, 464,
16; born’d, deal’d, 465, 22, 37; 471, 41; lai’d, 520, 10; dee’d, V,
248, 12.
=dabs=, II, 167 b, =F=: pricks.
=dada=, =dadda=, II, 339, 16, 18; V, 112, =B b= 5: daddie.
=daft= (love), II, 410, 8: foolishly fond.
=dag-durk=, I, 55, 12: dagger.
=daggie=, IV, 258, 25: drizzling (dag, a slight rain).
=daghter=, =dather=, daughter.
=daghterie=, IV, 324, 1: a word of no meaning, the original being
simply _daughter_: see V, 272 b, 1.
=daigh=, =daighe=, I, 302, =A= 10; II, 467, 42: dough.
=dail=, IV, 430, 5: (dool) the grief, the ill consequences.
=daily=, =dayly=, daily flower, I, 76, 9, 15, 18; II, 393, 2; IV, 19,
8: (Icelandic dælligr, Danish deilig) beautiful, charming.
=daily dight=, IV, 432, 6: beautifully adorned.
=dairgie=, II, 195, 41: refection given after a funeral.
=dale=, been at a, III, 161, 28, 30: dole (to mendicants), satirically.
=dam=, II, 192, 10: dame.
=damasee=, II, 327, 32: damson plum.
=dame=, addressed to an unmarried girl by her father, IV, 195, 7.
=dandily=, V, 106, =E= 5: over nice or dainty.
=dandoo=, III, 5, =C= 7, 8: dun doe?
=dane=, =done=, I, 68, 20, 24; 69, 45, 53; II, 81 f., 41, 56: done.
dane him to, III, 273, 15, 27: betaken himself. See =do=.
=dang=, _pret._ of ding, I, 55, 12; 129, =D= 6; 130, =F= 5; 133, =M= 7,
10; II, 253, 19; 261, 9; IV, 305, 18: beat, struck, knocked, thrust,
shoved. dang down, III, 460, 32. _p. p._, II, 282, 10: overpowered.
=danger=, do danger, III, 163, 67: exercise of the power of a superior?
violence?
=dank= (moat), V, 295, 7: damp, wet.
=danting=, =danton=, IV, 287, 1 (burden); V, 267, 1 (burden): (Fr.
dompter) sexual conquest.
=danton=, V, 248, 19: subdue, intimidate. See =daunton=.
=daown=, _adv._, V, 304, 8: down.
=dapperpy=, IV, 185, 11: diapered, of variegated cloth.
=dather=, =dother=, V, 257, 15: daughter.
=datit=, IV, 467, 15: dawtit, caressed.
_dative of pronoun_: III, 58, 37, 44; 60, 82; 61, 100; 65, 184; 75,
381, 391. after verbs of motion (dative of the subject): I, 244, 10,
13; 326, 1; III, 70, 281.
=daunton=, =danton=, I, 325, 6; III, 364 b: daunt, subdue, put down.
=daut=, =dawt=, IV, 104, =O=; 277, 4; 302, 2: fondle, caress, make much
of, pet.
=daw=, _v._, II, 146, 7: dawn. _p. p._ dawen, II, 139, 7, 12.
=dawdy=, II, 308, 5: the unborn young of an animal.
=dawt=, =daut=, IV, 304, 3; V, 106, =D= 3: caress.
=dawtie=, V, 117 f., =B= 5, 9, 13; 173, 11: darling.
=day=, =dey=, =die=, =dye=, IV, 257, =B= 9; 259, 7, 17; 260, 7, 16;
262, 16; V, 265 a, 10: dairy-woman.
=day=, =dayed=, die, died.
=dayly.= See =daily=.
=de=, =dee=, =dea=, =deei=, =die=, == do: I, 165, =N= 8; 183, 24; II,
175 f., 1, 8. a dee, II, 110, 25: to do. dee’d, V, 248, 12: do it. _p.
p._ deen. See =dee=.
=dea=, die.
=dead=, =deed=, =deid=, =dede=, =died=, _n._, I, 104, 14; 353, 13; 388,
=A= 11; 465, 19; II, 385, 25; 505, 92; III, 387, 16, 10; IV, 36, 3;
505, 57: death.
=dead.= be dead, II, 58, 5, 7; III, 23, 25; 28, 120; 99, 50: die.
=deak=, V, 270, 7: deck.
=dean=, =den=, IV, 167, =D= 5, 6, 11: hollow where the ground slopes on
both sides, valley.
=dean=, done.
=dear=, =deare=, =dere=, I, 411, 5; III, 164, =b= 67: injury.
=Dear-Coft=, II, 62, 18: Dear-Bought.
=dearly=, IV, 98, =F= 6: costly.
=dearsome=, III, 488 f., 38, 44: costly.
=dear vow=, interjection of surprise or commiseration.
=deas=, II, 189, 24: pew (stone seat at the door of the church.
Chambers). Same word as =dais=. See =dice=.
=deave=, I, 389, =C= 3; IV, 69, 17: deafen.
=debate=, III, 314, 64: quarrel.
=deceivin= (tree), III, 396, =N= 3: corruption of savin (see 380 a).
=decencey=, V, 242 b, 8: corruption of bencite, benedicite.
=deck-board=, =deck-buird=, oer (over), V, 138, =B= 5, 6; 139, =c= 6,
7: overboard.
=dede=, V, 283, 8: death. See =dead=.
=dee=, =deei=, =do=. how can this dee, I, 453, 6: be allowed, borne;
and so, perhaps, a’ this winna dee (wont do), II, 97, 14. a’ this winna
dee, gif ony prayer can dee, II, 132, 16; 176, 10; it wad na do, IV,
509 b, 13; _it_ widne deei, V, 227, 2: avail.
=dee=, =deei=, do. See =de=.
=dee=, =deei=, die.
=deed=, death. See =dead=.
=deed=, _v._, I, 164, =K= 6; 165, =O= 5: died.
=deed=, indeed. by my deed, III, 262, 12: on my word.
=deed-thraw=, III, 501, 10: death-throe.
=deei=, do, avail; die. See =de=, =dee=.
=deemed=, =demed=, III, 61, 95: judged. III, 356, 35: condemned.
=deen=, I, 16, =C= 18; II, 182 a; 409, 18, 19: done (with no sense in
19).
=deerlye= (dight), III, 340, 28, 36: expensively (ornamented). III,
356, 16, 31, 35: perhaps, with great cost to the sufferer, possibly, to
his hurt; lovingly, out of love, would answer in the first two cases,
but not in the third.
=deft=, III, 145, 3: neat, nice-looking.
=degree=, III, 323, 58; IV, 258, 20: rank, sort. served him in his ain
degree, V, 191, 19; 193, 57: rendered him respect accordant with his
rank. wee shall beare no degree, III, 333, 19: shall have no position,
standing. (requite, thank, show) in euerye degree, V, 84 f., 9, 14, 27:
to the full extent demanded by the occasion.
=deid=, I, 105, 26; 353, 13: death. See =dead=.
=deighte=, IV, 504, 29: dight, furnished, adorned, equipped.
=delated=, III, 449 a, b; IV, 63 b: accused.
=dell=, V, 79, 32: deal, bit, whit.
=dell=, II, 345, 29: we are apparently to understand that it was a
dismal dell that brought James into the world (not in itself, but
from the melancholy fact of his being born there). Possibly we may
understand dell ==dule, affliction. But the piece is spurious, and we
need not be nice.
=delle=, I, 327, 22: perhaps, dally, talk, disport; perhaps, deal.
=demean=, IV, 41, note *; 107, 3: treat, maltreat. (in 107, 3, treat as
he deserves, damage, do harm to.)
=demed.= See =deemed=.
=den=, =dean=, IV, 166, =B= 8; 168, 5, 11; 169, 3, 9, =G= 2; 174 f., 2,
7; 306 f., 12, 20, 48; V, 119, =D= 2: small valley, glen, dingle.
=den=, =dien=, V, 260, 8, 14: done.
=denay=, =deny=, V, 110, 10; 260, 3, 4: refuse.
=deol=, V, 297 b: sorrow.
=dep=, gave him a dep unto the heart, III, 281, 14: perhaps dab,
Old Eng. dabbe, stroke. But Dr Davidson suggests that the line was
misheard, and that what was said was, a dep’oon (wound), which seems to
me very likely.
=depart=, III, 139, 27: part company.
=deputed=, III, 414, 52: consigned, handed or delivered over (used of a
fugitive carried back for trial).
=dere=, =dear=(=e=), III, 99, 59: injury.
=dere-worthy=, III, 58, 36, 37; 59, 60; 61, 111; 67, 219; 68, 250; 73,
346: precious, dear.
=derf=, derf blowes, III, 422, 73: powerful.
=dernë=, I, 327, 30; III, 57, 21: secret, hidden, privy, obscure.
=descryvd=, IV, 405, 50: described.
=desse=, I, 328, 45: dais, the elevated part of the hall, on which was
the table for the chief personages.
=deuylkyns=, III, 79, 73: devilish sort of.
=develling=, come, I, 302, 5: moving like the devil, whether hieing,
scouring, bouncing, or what not; or, possibly, O. Fr. devalant,
descending; an equivalence to daundering, sauntering, has been
suggested.
=devyse=, I, 327, 16: will, pleasure.
=dey=, =die=, =dye=, IV, 257, 9; 259, 7, 17; 260, 7; 262, 16:
dairy-woman. See day.
=deythe=, =dyth=, III, 112, 59: dight, prepared.
=di=, =die=, II, 132, 24; V, 35, =B= 5: do. dinna, I, 146, 6, and
_passim_: do not. See =dinnë=.
=dice=, IV, 416, 17==deis: pew in a church.
=did=, I, 104, 3, 4: used for _should_.
=did= (be wrought), II, 506 a: caused.
=did him to.= See =do to=.
=did of.= See =do=.
=die=, IV, 264, 5: dey, dairy-woman. See =day=.
=die.= See =de=.
=die=, =do=, =din=, =dien=, done.
=died=, IV, 386, 19: death. See =dead=.
=died=, IV, 407, 7, 8: dead.
=dien.= See =den=, =die=.
=dight=, =dicht=, =dycht=, =deight=, =dyght=, III, 57, 19: prepared.
dedys that here be dyght, III, 72, 320: done. of grain, I, 16, =B= 16;
IV, 242 a: winnow. dight shoon, V, 105, =A= 11: clean. had not men to
dight my men, III, 300, 18; IV, 500, 19: serve, handle. she dighted her
father’s wounds, I, 101, 8; 103, =D= 6: dressed. pinnace, hachebord
deerlye dight, III, 340, 28, 36; IV, 504, 29: fitted out, dill (grief)
to him was dight, II, 68, 4: ordained.
=dight=, _adv._, bird sang fu dight, II, 261, 10: readily, freely
(strange use of the word). Cf. =complete=.
=dild=, God, III, 35, 31: God ild, yield, reward (_d_ carried on from
the subject).
=dill=, II, 58, 4, 11: dule, grief.
=dimitted=, III, 447 b: discharged, released.
=din=, =dien=, done.
=din=, I, 133, 10; II, 186, 16: dun.
=dine=, I, 127, 23; II, 94, 12; 194, 13, 17; 313, 17; III, 267, 18; V,
277 f., 18, 29: dinner, meal.
=ding=, II, 62 a, 17; 261, 8; IV, 97, =F= 2; 304, 16, 17: beat, knock.
ding down, II, 240, 6; III, 5, =D= 2, 6; 6, 2, 5; 8, 5; 9, 2, 7: lay
low, overthrow. _pret._ dang, dung. _p. p._ dung, dang. my ain wand
dings me now, IV, 97, =F= 2: I am suffering the consequences of my own
folly.
=dink=, I, 74, 72: neat, trim.
=dinna=, do not.
=dinnë=, V, 229 a, 35: do (you) not. V, 229 b, 6: (disne) does not.
dinner==dinna, dinnë.
=dinne=, I, 272, 25: (noise) ado, trouble.
=dint= (of arrow), III, 345, 48; 350, 48: stroke, impact.
=dirt=, _v._, V, 304, 2, 3: soil.
=dis=, does.
=Disaware=, V, 49, 29; 51, 51, 62: O. E. aver (O. Fr. aver, avoir)
seems to be the basis of the word, which would mean stripped of wealth,
sans aver (avoir); a Galterius Sine Avero is noted by Ducange.
=discared=, III, 38, 85: revoked, withdrawn (apparently for discarded).
=discharged=, IV, 63 b: revoked.
=discreene=, II, 439, 2: descry, spy out, discover.
=discreeue=, II, 58, 3, should be _disceuere_, diskevere, discover,
reveal.
=disgrate=, V, 269, 17: disgrace.
=disgrate=, III, 58, 48: unfortunate, out of fortune’s favor. (Ital.
disgraziato.)
=disna=, does not.
=distan=, IV, 329 a, after 16: (distance) distinguish.
=dittay=, IV, 245 a: indictment.
=dive=, II, 132, 25: do.
=diuel’s mouth.= He could not finde a priuy place, for all lay in the
diuel’s mouth, II, 483, 4: as the devil’s mouth is depicted wide open
in painted windows, etc., Professor Skeat has suggested that meaning
for the phrase.
=do=, it wad na do, IV, 509 b, 13: avail. See =dee=.
=do.= See =doo=.
=do=, =doe=, doe my thy hawkes, I, 211, 20: give, deliver.
=do adowne=, III, 67, 226; 69, 263: put down.
=do away=, III, 59, 63: have done with, stop.
=do be=, I, 184, 47: are.
=do down.= See _do to_.
=do gladly=, III, 58, 34; 61, 103; 67, 232: make yourself happy (==make
glad chere, 67, 215).
=do= (=doe=) =of=, =off=, II, 138, 13; III, 78, 449; V, 49, 23-25: put
off. _pret._ doft, II, 490 b.
=do on=, III, 23, 27; 76, 421: put on, don.
=do to=, =do till=, with reflexive pronoun, I, 86, 30; 87 b; 115, =B=
3, 4; 182 f., 7, 11, 13, 17; 352, 32, 44; III, 72, 328: betake. So with
_up_, _down_, V, 300, 5, 8.
=do up.= See =do to=, and =dop=.
=doited=, IV, 427, 10: stupid, doting.
=doll=, =dolle=, =döl=, =dule=, I, 217, 3; V, 111, 19, 21: grief.
=domineer=, in, wi, III, 268, 9; 270, 9; V, 242 b, 8: with haughtiness,
superciliously. (Perhaps a corruption of III, 270, =E= 7, since the
captain is said to be buke-learned in 268, 9.)
=doo= (ynnë gon), III, 91 a: cause, make.
=doo=, =dou=, =dow=, I, 163-165; 497, =L= 2; V, 40 f., 3, 9, 15, etc.:
dove.
=don=, down.
=done=, how done you? III, 35, 31: old plural, how do you do?
=done upon=, V, 48, 6: put on.
=doo’d=, IV, 464, 16: do it.
=dool=, =doll=, =dule=, II, 175, 17; IV, 85, 42; V, 17, 31; 111, 19,
21: grief. See =dail=.
=dool=, dool and down, II, 271, 26: corruption of dale and down; cf.
II, 175, 14; 273, 33; IV, 219, =B= 5: and elsewhere.
=doon=, II, 198 b, 2d line: a corruption, or possibly an Irish word, of
which I can make nothing.
=doon=, youar begun yar doon, V, 304 b, 4.
=doorcheeks=, II, 99 b, 33: door-posts.
=dop=, III, 34 f., 6, 21: do up, open.
=dorn=, II, 300, 5: (sheets of) dornic, table-linen, ordinarily, from
Dornick, the Dutch name for Tournay.
=dorty=, IV, 288, 10: pettish, peevish, saucy.
=dother=, IV, 327, 15; V, 110, 1; 237 f., 6, 7, 12, 22, etc.; 264, 7:
daughter.
=dottled=, V, 94, =A= 3: in a state of dotage.
=dou=, dove. See =doo=, =dow=.
=dou=, =dow= (A. S. déah, dugon), III, 245, =B= 12; 247, 18; 370, 10,
13; IV, 472, 22: can (of physical ability). II, 78, 4; 104, 24; 105,
16; 168, 12; III, 386, 21; IV, 31, 9; 512, 12: (with negative) am
unable from aversion, want of resolution, etc. dought (A. S. dohte,
_pret._ of dugan), _pret._, I, 146, 20; II, 401, =C= 7; III, 465, 22;
IV, 23, =A c= 18: was able, could. _Subjunctive_, I, 326, 18, 19 be at
liberty); I, 330, =B= 3: should be able. dought, he neere dought good
day, I, 434, 32: he never was good for anything a good day. But we
should expect _him_: never a good day profited him.
=double-horsed=, III, 489, 42: with horse carrying double.
=doubt=, =doute=, =dout=, _n._ and _v._, I, 295, 35; 478 f., 19, 28;
II, 52, 22; III, 57, 10; 76, 406; 125, 26; 188, 4: fear.
=doubt=, =if tho=[u], II, 449, 58: corrupt. =A= 53, without all doubt.
=doubtit=, III, 364 b: redoubted, held in awe. See =doubt=.
=douce=, I, 184, 1; V, 210 a, 1: staid and sober. violence douce, II,
271, 19: corrupt; read _done_?
=douë=, =douey===dowie, V, 257, 7, 17: dreary, melancholy. V, 220 f.,
6, 7, 9 (of bran): wretched.
=doughetë=, III, 308, 28: doughty man.
=dought.= See =dou=.
=douk=, =duck=, II, 151, =H= 6; 153, 16, 17, 19, 21: dive.
=doukers=, =duckers=, II, 151, =H= 6, 8: divers.
=doulfou=, II, 159, 23: doleful.
=dounae.= See =dou=.
=doup= (dish-doup), II, 463, 23: bottom.
=dour=(=e=), I, 117, 17: hard, severe. V, 295, 3: savage. knocks
bauldly and dowr, II, 341, =R= after 3: hard, or pertinaciously.
=dout=, =doute=. See =doubt=.
=dow=, =dou=, =doo=, I, 163 f., =J= 1-6, etc.; II, 299, 22-24; 301, 14;
V, 111, 18; 302, 17: dove.
=dow=, do.
=dow=, =downa=, _v._ See =dou=.
=dowie=, =dowy=, I, 56, =B= 11; II, 146, 19; 148, 21, 22; 189, 36, 37;
IV, 33, 24; 165, 12; 166, =C= 4, 5, 6; etc.: sad, doleful, melancholy,
wretched. See =douë=.
=dowilie=, I, 439, 11: sadly.
=down=, wi meikle dool and down, II, 271, 26: nonsense; corruption of,
beheld baith dale and doun, =F= 33.
=down-browed=, scowling; I, 302, =A= 11.
=downfall=, =downcome= of Robin Hood, with the, III, 271, 10; 274, 30:
knocked down in R. Hood’s fashion?
=dowr.= See =doure=.
=doyn=, III, 111, 39: done.
=doyt=, III, 109, 1: doth (plural).
=draff=, refuse, dirt.
=drank=, II, 30, 7: gave to drink, drenched.
=drap=, III, 281, 10, drap down: perhaps, drap[d] down; otherwise,
should drop.
=draps=, drops.
=draught=, I, 432, 1: sketch, picture.
=draw=, drew her table, V, 304, 13: see explanation, 304 a.
=draw=, III, 6, 14, 15: move (cf. Germ. ziehen).
=draw to=, =ti=, =till=, draw to hose and sheen, II, 249, 15; 256, 9;
IV, 464, 10: draw on. drew till him his hose, II, 189, 35. drew to him
his sheen, II, 257, 30.
=draw up wi=, II, 114, 14: take up with, enter into intimacy, relations
of love, with.
=drawght= that thowe dost drawe, IV, 503, 16: of the drawing of a bow.
(So “Chaucer’s Dream,” v. 788, Morris.)
=drawn=, ere the horse was drawn and brought, IV, 346 b, =I b= 5:
chosen.
=drawn= a stroke behind his hand, II, 63, 24: evidently means give a
back-handed stroke, but the phrase sounds factitious.
=dreaded=, II, 169, 14: suspected.
=dreads=, IV, 32, =C= 7: suspicions.
=dreamed=, I was, I, 432, 1: dreamed, had a dream.
=drede=, _n._, III, 296, 8: doubt.
=dreder=, II, 403, 3, 4: dread, apprehension.
=dre=(=e=), =dri=, =drie=, =drye=, suffer, undergo, hold out, stand,
be able. dree pine, II, 466, 35; 467, 45. doom, III, 391, 9. death,
III, 391, 1. dill I drye, II, 58, 11. dreeing trying hour, I, 73, 47.
as fast as they might dree, III, 286, 49: could do it; so, II, 149, 7;
255, 10; III, 106, 12; 267, 9; IV, 2, 6; 6, 13; V, 195, 13, 35; 196,
37. whylle the myghte dre, III, 298, 58; 309, 47: as long as they could
hold out. draw carts, which horse were wont to drie, I, 465, 2: do,
perform. drie to feel, III, 479, 5: be compelled, come to feel.
=dreel=, gie a, I, 403, 9: stir up, put into a flurry, make scud. (Old
Dutch drillen, ultro citroque cursitare gyrosque agere, etc. Scottish
dreel, to move quickly.)
=dreigh=, IV, 47, 4: seems to mean here, far to jump from.
=dress=, III, 336 b: redress.
=dressen=, _v._ the dressede into the countrey, V, 71, note †: betaken.
=drew= (her table). See =draw=.
=dri.= See =dree=.
=drie=, _n._, III, 415, 22: an unauthorized word of Percy’s, to mean
suffering.
=drie=, =dri=. See =dree=.
=driep=, drop.
=drifts=, IV, 2, 10: droves.
=drive=, IV, 6, 19; 7, 30, 32: drive off.
=droonet=, I, 133, 13: drowned.
=droop=, droop and drowsie (of blood), IV, 220, 13: droop might be the
Old English drup, sad, piteous, but a word indicating the quality or
condition of the blood would be expected (as in German trübe, thick,
muddy). The nearest is _drubly_, turbid, muddy. Cf. wan and drousie,
IV, 224, 23. her lothely lere is droupy and drowsy, Skelton, Elynour
Rummynge, 15: downcast and drowsy. See =drousie=.
=droped=, III, 164, 88: drooped.
=drouflye=, III, 85, 22: sad. See =drousli=.
=drousie=, wan and drousie, IV, 224, 23. droop and drowsie, IV, 220, 13
(of blood): sluggish, perhaps slowly dripping. The combination occurs
in Skelton’s Elynour Rummynge, 15, droupy and drowsy, with sense. See
=droop=.
=drousli=, III, 82, 22, should be droufli (drouflye, or drouslye, 85,
22): (Old Eng. drof, droflie) sad.
=drowryis=, I, 415 b: love-tokens. See =drury=.
=drowsie.= See =drousie=.
=drucken=, II, 155, =A b= 3: drunken (and in =A a= 3, where there is a
misprint).
=druken=, =drucken=, _p. p._, II, 285, 9; V, 99, 11, =C= 6; 155, =C= 2:
drunk, imbibed.
=drumlie=, =-ly= (stream), IV, 185, 8, 14; (eye), IV, 368, 10; 369 b:
perturbed, turbulent, turbid, gloomy.
=drunken=, _p. p._ of drink, II, 110, 24; 134, 26. drunken was==had
drunken, IV, 46, 5, 6.
=drunkilie=, III, 490, 25: merrily (as being tipsy with pleasure?).
=drury=, IV, 58, =A b= 5: dowry. Drowry is used as synonymous with
morning-gift in the Acts of James VI. Jamieson. See =drowryis=.
=drussie=, V, 257. 14: drowsy.
=drye.= See =dree=.
=drywyng=, driving.
=dub=, I, 164, =J= 3; III, 162, 49; IV, 470, 25, 26; V, 169, 9: pool.
=dubby=, IV, 257, =A= 6: dirty, having many small pools.
=ducatdowns=, =dukedoons=, IV, 128, 8; 139, =I b= 21: ducatoons.
corrupted ridiculously, IV, 137, 2, to ducks.
=duck=, =douk=, II, 145, 18, 19, 22, 23: dive.
=duckers=, =doukers=, II, 145, 18: divers.
=ducks.= See =ducatdowns=.
=duddie=, I, 208, =G= 15: ragged.
=duddies=, =dudes=, V, 111, 24; 112, =B= 13; 113 =b=, 13: duds, poor
clothes.
=duȝty=, III, 98, 32: doughty, valiant.
=duke=, IV, 295, =D= 5: dyke, wall.
=dukedoons.= See =ducatdowns=.
=dulchach=, =dulget=, I, 305, 1; V, 213, 1: bundle, always applied in
Aberdeenshire to ill-shaped, untidy bundles of clothes carried on the
person (also, bulshach).
=dule=, =dool=, I, 169, =B= 3; 442, =E= 15; II, 290, 8, 12; IV, 86, 20;
303, 14: grief.
=dulget=, I, 305, 1. See =dulchach=.
=dumped=, V, 227, 4: struck with the feet.
=dumpes=, III, 313, 50: in the modern sense, but not inelegant.
=dune=, I, 302, 2; IV, 326, 15: done.
=dune out=, V, 27, 28: worn out, used up.
=dung=, _pret._ of ding, beat, knock, strike, II, 132, 17. _p. p._, II,
62 a, 17; 392, =J= 9; 472, 20, 28; III, 161, 43; IV, 479, 4: beaten,
worsted, overpowered, put down. IV, 183, 8: overwhelmed, disconsolate.
dung over, V, 127, 22: knocked over, struck down. dung down, I, 345, 5:
thrust down.
=Dunny’s well=, =Dunny’s dyke=, II, 189, 28: an impersonation,
signifying that the washing and drying have been done in dark-colored
water and on a dark-colored (dirty) wall.
=dunts=, III, 491, 13: dints, blows. See =dynt=.
=dwine=, IV, 303 f., 12, 21, 27; 304, 10: pine, waste.
=dwrf=, IV, 290, =D c= 5: _dowf_ seems to be intended, lethargic,
inert, impotent; rather than _dwarf_, as being puny or incomplete.
=dyd him to=, III, 72, 328: betook himself. See =do to=.
=dyde adowne=, III, 67, 226: put down.
=dye=, IV, 260, 16: dey, dairy-woman. See =day=.
=dyght=, III, 72, 320, dedes that here be dyght: prepared, concerted.
=dyght= (to the deth), III, 309, 40: done, brought.
=dyghtande=, III, 75, 388: making ready (but seems to be intended for a
past participle).
=dyke===wall, IV, 295, =E= 6; 296, =F= 6. castle-dyke, II, 410, 4.
garden-dyke, II, 370, 5; 371, 5. fail dyke, I, 253, 2: turf wall.
hollan dyke, II, 195, 32; nettle-dyke, II, 463, 22: wall on which
hollies, nettles, are growing.
=dyke=, III, 441, 36: ditch.
=dyne=, garre me ones to dyne, III, 296, 24: give me my dinner,
my fill, beat thoroughly. (Able to give the greatest prince in
Christendome a mortall breakfast, if he had been the king’s enemie.
Holinshed’s Chronicle, III, 512, ed. 1807-8. G. L. Kittredge.)
=dynt(e)=, =dint=, III, 309, 42, 45, 46: stroke, hit, lunge, shot (of
spear, arrow). See =dunts=.
=dypper=, V, 283, 5, 15: deeper.
=dysheryte=, III, 60 f., 87, 95: dispossessed.
=dyspyse=, II, 478, 6: cause to be despised.
=dyth=, =deythe=, I, 334, 7: dight, furnished or built.
E
=E an O me=, =E an O an O me=, V, 275 a, 9, 10: simple exclamations,
having here the character of a refrain.
=é=, II, 217, 24: =ae=, only.
=ea=, V, 214 b, 3: to be dropped; remnant of a corrected reading.
=eaen=, V, 267, 4: even.
=eaght=, the, the eighth.
=ealky=, =elky=, =eke a=, =ylk a=, =ilka=, V, 220 f., 4, 5, 8: each
(one).
=ean=, V, 165, 2: eyes. See =ee=.
=ear=, I, 395, 1; 480, 54: early.
=ear=, eer, ever.
=eare=, =ere=, =ayre=, heir.
=eare=, _v._, I, 15, 12: plough.
=earn=, V, 115, 6: curdle.
=eartly=, II, 494, 1: earthly.
=eased=, III, 61, 101 (of horses): cared for, attended to.
=eased we=, V, 239, 35: used (as in 33), familiar with.
=easer=, IV, 315, 14; V, 271, 14: maple (mazer). See =ezar=.
=easterling= (born), V, 54, 3, 4 (in =A=, 48, 3, 4, stranger borne).
The boy learned too fast for a native. Easterling, a native of the
Hanse towns, or of the East of Germany. Halliwell.
=eathe=, III, 408, 33: easy.
=eather=, V, 224, 25; 241, No 156, 6: other.
=eay=, =eayn=, V, 238, 18, 28; 248, 18: eye(s). See =ee=.
=edder-flowe=, IV, 450 a, 2: adder-morass.
=ee=, III, 4, 9; 11, =K=: eye. _Pl._ een, eeen, II, 158 f., 5, 8, 18;
160, 4, 7, 17. See =ean=, =eay=, =eghne=, =eyen=.
=ee= (of a cup), IV, 221, 9: may be eye, top, brim.
=ee=, the table ee, II, 409, 20 (Motherwell, table eye): seems to be
nonsense; _edge_ does not suit. =b=, the printed copy, has _play_.
=ee= (A. S. ege, O. Eng. eȝe, eie, etc.), IV, 3, 15: awe; an
unsatisfying emendation of _lee_, _lye_ (eie would be better; I have
not found ee). The Campbell MS. has fee, meant, I suppose, for value.
=ee-bree=, III, 11, =K=; IV, 257, 5: eye-brow.
=een=, IV, 257, 13: one.
=een=, _v._, III, 495, 23, 24; IV, 517, 21: even, make of the same
value.
=eenin=, IV, 169, =F= 1: evening.
=eerie=, =eiry=, I, 342, 24, 36; 355, 46; II, 466, 39; IV, 175, =N= 5;
368, =G= 8: dreary, gloomy, weird, exciting superstitious dread.
=eft=, eft agayne = eftsones, III, 83, 238; 87, 238.
=eftsones=, III, 68, 238: hereafter, another time.
=eghne=, I, 327, 23: eyn, eyes.
=eh=, IV, 512, 11: exclamation of grief.
=eight=, the eight, I, 55, 9; 56, =B= 10; =C= 5, 11: eighth.
=eihte=, I, 244, 11: possession, valuable thing.
=eild=, III, 162, 46: age.
=ein=, I, 134, 13: een, evening.
=eiry=. See =eerie=.
=eisin=, IV, 331 b, 2: serve.
=eke=, also. At I, 133, =L= 1, _eke ... eke_ seems to be wrongly used
for _either ... or_.
=eke a=, III, 298, 57: each (one). See =ealky=.
=elbouthe=, I, 334, 5: elbow (the th for g or ȝ).
=eldelike=, I, 334, 5: elderly.
=eldern=, =eldren=, =eldrin=, I, 350, 12, 13; II, 20, 2; 26, 2; 27, 2;
61, 2; IV, 485, 28: old.
=eldrige=, =elridge= (hill, king), II, 58 f., 14, 15, 23, 25-7,
36==Scottish elric, elvish. The eldrige king has something of the
character of the ellor-gást family in Beówulf (spirits who belong
outside of mankind), haunts a hill, is a pagan, no one that has coped
with him has come off alive. The lady who attends him, however, seems
in no way extra-human. elric hour, I, 140, =N= (Pinkerton): hour when
elves, or bad spirits, are active. In Elrick’s hill, II, 62, 8, 10,
etc., the adjective is improperly turned into a noun. See =elrick=.
=element=, I, 286, 44: air, sky.
=elephant=, III, 211, 2: a species of scabious is so called, according
to Halliwell.
=elfin=, =elphin=, =elphan=, _n._ and _adj._, I, 15 ff.; 341, 15; IV,
456, 13: elf, elvish. I, 346, 15 (the Elfins); 350, 28; IV, 456 f., 14,
15, 19, 24: fairy-land.
=Elfins=, the, I, 346, 15: fairy-land. See =elfin=.
=elfish=, _n._, I, 343, 15: elf.
=elflyn=, of the elves.
=Elizium=, V, 158, 16: Elysian.
=elky=. See =ealky=.
=ell=, =ill=, =ull=, _v._, will.
=ellish=, III, 481, 9: ellis, ells. (h may well be dropped.)
=elphan=, =elphin=, _n._ and _adj._ See =elfin=.
=elrick=, =elritch=, _adj._, II, 63, 18; I, 357, 53: elvish. Elrick’s,
62 f., 8, 10, 16, 21: as a substantive. See _eldrige_.
=embowered=, _pret._, II, 503, 13: used as bower.
=eme=, III, 296, 26: uncle. emys, III, 98, 38: uncle’s.
=-en=, =-n=, =-yn=, sign of plural of verb, I, 244, 9; II, 5 b, 3; 54,
61; 445, 62; III, 13, 2, 3, 4, 8; 35, 31; 63, 134; 92, 11; 104, 7; 105,
9, 11; 277, 15; 284, 3, 8, 17; 285, 30, 32, 33; 286, 48, 49; 404, 3;
406, 28; etc.
=end=, =en=, end. hous(e)-end, -en, I, 254, variations of Twa Corbies,
=b=, 1, =c=, 1; toun-end, V, 267 f., 10, 11, 24. on end, IV, 353, 18:
to an end.
=-end=, termination of the present participle. sighend, I, 55 f., =B=
7, 9.
=endres daye=, þis, I, 326, 1: the other day.
=eneuch=, =enew=, I, 102, 5; III, 318, 6; 440, 10; IV, 117, 8; 384, 8:
enough.
=enlured=, III, 36, 45: allured (which is the word in =b=).
=enter plea att my iollye=, III, 278, 32: unintelligible to me. iollye
should probably be iollytë. The king will have the head to serve some
inscrutable purpose when he is making merry.
=enterprise=, _v._, I, 411, 9; III, 230, 70: undertake.
=entertain=, III, 153, 18: take into service.
=envye=, III, 296 f., 12, 30: ill-will, hostility, spite.
=ere=, V, 300, 3: eer, ever.
=ere=, =eare=, =ayre=, _n._, heir.
=ere=, _v._, heir.
=ere=, II, 216, 19; 470, 44; IV, 242 a; 378, 6; 433, 31: till.
=ere syne=, II, 362, 34: ere then, before that.
=erlis=, I, 329, 60: should probably be _ernis_, eagle’s (_herons_,
_yrons_ in other texts).
=erlish=, I, 355, 49: elrish, elvish.
=ermeline=, ermine.
=ern=, IV, 490, 12: iron.
=-ës=, =-is=, =-ys=, =-us=, preserved in _gen._ _sing._, I, 69, 52; II,
25, 7; III, 40, n.; 98, 21, 35; 99, 47 f., 52; 100, 64 f.; 111, 33, 36,
42, etc. In the _plural_, I, 72, 15; III, 40, n.; 97, 2, 3, 20; 98, 25,
33, 37, 40-2; 100, 63, 82; 109, 1; 111, 29, 31-37, 45 f., etc.
=esk=, I, 355, 50: newt. See =ask=.
=ettled=, IV, 47, 2: purposed.
=even cloth=, I, 324, 16: smooth, with the nap well shorn.
=even down=, IV, 110, 10, 11: flat to the ground. V, 124, =B= 14:
perpendicular. 225 b, No 78: straight down (of heavy rain).
=even forward=, I, 324, 3: straight forward.
=even up=, I, 305, 7: straight up.
=evening-mass=, II, 168, =A=, 4: a religious service at the end of the
day (as in Romeo and Juliet, IV, 1).
=euery= syde, III, 75, 398: each side of.
=euerych=, =euerichone=, =euerechone=, =euerilkon=, =everlke ane=, I,
334, 5; III, 22, 4; 65, 174; 67, 230; 98, 30: each, each one.
=evidents=, IV, 40 b: title-deeds.
=evyll=, _adv._, III, 26, 93: ill. euyll go, III, 77, 429: ill walk.
=ew-bught.= See =bucht=.
=ewer=, IV, 19, 8: dug, udder.
=exaltre=, III, 90 b: axletree.
=examine=, II, 58, 15: put you to test.
=exite=, II, 125, =B= 22; excit, V, 223 a, No 65, =B= 22: amended to
_sight_ under the supposition that _exit_ must be impossible.
=exoner=, IV, 307, 42: exonerate.
=ey=, I, 415 b: egg.
=eye= (cote with one eye), III, 360, 117: window?
=eyen=, =eyne=, I, 472, 29; III, 74, 359: eyes. See =ee=.
=eylde het the=, III, 112, 62: yield, requite thee for it.
=eylyt=, I, 241 f., 5, 7: aileth.
=eyre=, _pl._, III, 113, 70: years.
=ezar=, II, 271, 17; 273, 23: maple. See =easer=, =masar=.
F
=f=, in Northern Scotch, often for wh; as, _fa_, _faa_, who; _fan_,
when; _far_, _faer_, where.
=fa=, IV, 260, 6; 261, 6: who.
=fa=, V, 118, =B= 10: fault.
=fa=, my lady cannot fa sic servants, I, 116, 11: have such fall to
her, put up with. fa frae her, II, 133, =D= 1: break off, give up.
=fa=, =fae=, IV, 256, 5; 337, f 2, 3, 7: from.
=faa=, V, 275 a, 8: who.
=face=, with a, III, 180, 12: with effrontery, boldness.
=fache=, fetch.
=fact=, III, 229, 32; IV, 11, 11: offence, crime.
=fadge.= fat fadge, II, 182, 8: “a lusty and clumsy woman.” Jamieson.
“_fadgy_, corpulent, unwieldy. _fudge_, a little, fat person. _North._”
Halliwell. “_fodge_, a fat person; evidently the same with _fadge_.”
Jamieson. A _dirty drab_ is the phrase corresponding to fat fadge, II,
194, 10 (fusom fag, IV, 469, =I= 10, 12). See =fag=, =fug=.
=fadther=, IV, 260, 7: father.
=fae=, =fay=, =fey=, =fee=, =fie=, I, 245, 6; III, 481 f., 30, 24; 489,
39; 490, 24; 492, 26; IV, 430, 2: (A. S. fǽge) destined to die.
=fae=, II, 184, 19; 196, 9: foe.
=fae=, IV, 165 f., 2, 10; 337 =f=, 2, 3, 7: frae, from. See =fa=.
=faein=, =faen=, =fawn=, fallen.
=faem=, =fame=, I, 68, 1; 70, 1; 86, 1; II, 24, 12; 25, =G= 14: foam,
sea.
=faer=, IV, 262, 15; 378 f., 6, 19: where.
=fag=, I, 304, =F= 2, 3; IV, 469, =I= 10, 12: a dirty drab. Cf. fusome
fug, described as a dirty drab, =B= 3-6; dirty slut, =C= 4; dirty
bitch, =E= 4; filthy foul flag, =G= 4. See =fadge=, =fug=.
=faikine=, III, 199, 24: faith.
=fail=, =feall=, =fell=, I, 304, =F= 6: turf.
=fail-dyke=, I, 253, 2: turf-wall.
=fails=, II, 365 f., 2, 3, 23: falls, befalls.
=fain=(=e=), =fayn=(=e=), II, 444, 48, 57; 453, 28; III, 100, 66; 298,
50; 309, 32: glad, pleased, eager. IV, 211, 13; V, 115, 2: fond. for
faine, III, 479, 40: for glad, for gladness.
=fainly=, joyfully, blithely.
=fair=, V, 26 f., 13, 39: far.
=fairlie=, =farlie=, =ferlie=, I, 324, 11; 325, =B= 9: wonder. gars me
fairlie, IV, 357, 2: causes me astonishment.
=fairly= (fields), IV, 57, =D= 1: fair, looking well.
=fait=, =faitt=, =fett=, V, 224, 18, 19; 274, 10; 278, 29: white.
=faith and troth=, to be, IV, 147, 34: to be in the relation of men who
have taken the engagement of mutual fidelity, sworn-brethren.
=fald=, =fall=, =fauld=, _n._, V, 105, =A= 3; 248, 21: fold.
=fall=, III, 76, 406: suit, become. well falls me, V, 25, 5: my luck is
good.
=fall=, V, 206 b, 8: _pret._ of fall, unless there is ellipsis of did.
=falling=, III, 470 a: sunset.
=fallow’s deed=, I, 448, 7-10: deed of a bad fellow seems unlikely.
felloun’s? farlie, strange?
=falsh=, IV, 442, 1, 10, 12: false.
=falyf=, III, 13, 4: fallow.
=fame=, =faem=, I, 68, 1; 86, 1: foam, sea.
=fa’n=, IV, 6, 7; V, 249, 7: fallen.
=fan=, =fand=, found.
=fan=, IV, 262, 19; V, 110, 4; 116, 1; 184, 49: when.
=fancy=, fell in her, V, 272 b, 2: fell in love with her. faen deap in
my fancy, 273, 12.
=fand=, found.
=fang=, III, 160, 5: fastening. (164, =b= 5, whang.) Perhaps North
Scotch for whang.
=fankit=, IV, 27, 28: entangled, obstructed.
=far=, III, 513 b, 1-4: fair.
=far=, =fare=, =faur=, I, 165, =N= 1; II, 191, 23; 335, =N= 3-5; V,
224, 17, 18; 227, 8; 248, 22: where.
=fare=, go, I, 170, 4; II, 222, 21; III, 22, 6; 98, 24; 340, 23, 24;
421, 43; V, 183, 22, 32. I fare you well, II, 207, =A= 1: I bid you
fare well. _pret._ foor. _p. p._ forn.
=fare=, go on, comport oneself: III, 188, 6; 357, 59.
=fare=, _n._, III, 160, 11, 20: going on, procedure. III, 76, 403: (in
the modern sense) fortune, experience.
=fared=, favored, well-fared, well-(weel-)fard, weel-fart,
well-(weel-)faird, weil-faurit, weill-(weel-)faurd, well-fard, II,
268, 21; 317, =B a= 21; 408, 26; 462, 7, 8; IV, 220, 8, 1, 4; 223, 3;
274, 2; 434, 2, 3; V, 16, 1; 154, 10; 163, 12; 177, 14: well-favored,
handsome.
=farei=, =farie=, =Farie= (MS. farie), V, 165 f., 6, 9, 10: should be
emended to Fyvie. See V, 305 f.
=farer=, I, 369, 51; V, 91 f., 4, 8, 12, etc.; 208, 9: further.
=ffarley=, _adj._, ffarley thinge, III, 92, 9: strange.
=farlies=, =farleys=, =ferlies=, I, 325, =B= 9; IV, 147, 26: wonders,
novelties. See =fairlie=.
=far sought=, was, V, 161, 6: required long to reach.
=fart=, weel-fart, IV, 223, 3: fared, favored. See =fared=.
=fas=, =fase=, III, 299, 6; V, 248, 5: false.
=fa’s=, IV, 399, 46: fall, _1st per. sing. pres._
=fash=, IV, 493, 21, 23; V, 238, 22: meddle, make trouble, or, perhaps,
trouble yourself. fashed himself, IV, 69, 18, 19: got himself into
trouble by meddling.
=fashes=, II, 238, 4: troubles (emendation for _fishes_; possibly we
should read _freshes_).
=fast=, fast they bad, III, 26, 90: strenuously. stare, look, III, 62,
122; V, 82, 35: intently. weep, II, 240, 3: copiously. fast unto, III,
131, 6: close down to.
=Fastness=, IV, 103, 15: originally meant for _faustness_, falseness.
=fat=, =fatt=, III, 281, 4; IV, 260, 2; 357, =C= 5, 7, 9, etc.; V, 111,
18; 214 b, 5: what.
=fate they coud na fa=, II, 130 1: from it (fae it, frae it) they could
not desist.
=fatten a=, V, 221, 22; 247, 2: what, what sort of.
=faue=, V, 260, 7: fie!
=fauld-dyke=, IV, 199, 11: fold-wall,
=faun=, fallen.
=faur=, V, 124, 2: where. See =far=.
=faurit=, =faurd=. See =fared=.
=fause=, false.
=fause fa thee=, III, 435, =F= 5: may treachery befall thee, be thy lot!
=fave=, V, 275 b, 8: five.
=fawe=, IV, 505, 54: fall.
=fawn=, IV, 277, 13: fallen.
=fay=, _adj._ See =fae=.
=fay=, III, 74, 362; 110, 13; V, 85, 16: faith.
=ffayne=, III, 297 f., 48, 50: glad. III, 100, 66: fond of, pleased
with. See =fain=.
=fe=, =feea=, wage, etc. See =fee=.
=feall=, =feale=, =fail=, =fell=, IV, 262, 29: turf.
=Feansell=, =feanser=, V, 55, 30: emended to _le and fell_.
=fear=, II, 470, 51: frighten (us from dancing).
=fearder=, =feardest=. See =feart=.
=feare=, in, V, 15, 18: together. See =fere=.
=fearsome=, II, 394, 18: fearful.
=feart=, =feert=, III, 262 f., 11, 13, 15, 17; IV, 456, 15; 498, 12,
14, 16: frightened. fearder, III, 267, 13: more frightened. feardest,
III, 162, 55: most frightened.
=feather=, IV, 512 b, 2, 9: father.
=feathern=, IV, 482 f., 4, 9, 13: feathers.
=fecht=, =feght=, _v._, II, 319, 16; 391, 16, 17; III, 370, 15; IV,
224, 14, 15: fight. See =ficht=.
=feckless=, I, 429, 28 (dress): weak, feeble, effectless, miserable,
silly. (here==inefficacious, of no account.)
=fedred=, =ifedred fre=, III, 69, 275; 70, 288: feathered liberally,
handsomely.
=fee= (A. S. feoh), I, 327, 16 (wylde fee): animals. I, 58, 2; 434, 31;
II, 25, 7; 172 f., 40, 42, 45; 442, 8; 447, 8; III, 94, 51; IV, 18,
17: wealth, possessions, property, having. I, 182, 2; II, 31, =N= 4;
114, 17; 123, 15; 379, 1; 403, 9; III, 433, 12; 435, =F= 6; 436, 14;
IV, 514, 21: pay, wages. II, 117, 5, 6; III, 163, 72; 299, 5: reward.
I, 328, 57: tribute. gentylman of clothynge and of fee, III, 30, 165:
entitled to a regular stipend. knights fee, III, 94, 51: land of the
value of £20 per annum (under Edward I., II.). See =foster of the fe=,
III, 28, 140. penny-fee(-fie), I, 491, 10; IV, 444, 10: gift.
=fee=, _v._, I, 211, 3, 4: hire. (gae fee, go hire yourself.) See
=feet=, _pret._
=fee=, =fey=, doomed. See =fae=.
=feed=, =feid=, III, 436, 2; 464, 2; 468, =c= 2; IV, 2, 9; 36, 3; 37
f., 3, 10: feud.
=feed=, =fode=, =food=, I, 309, =B= 1: child, man.
=feed= about your fire, II, 184, 13: the sense _eat_ seems unlikely.
Possibly, to move about, to sit or move restlessly (like feik).
=feed=, _pret._ of feed, V, 236, 18: fed.
=feel=, =fiel=, II, 175, 1; 176, =C= 3; IV, 262, 29: fool.
=feel daft=, II, 410, 8: foolishly fond.
=feel===fell: very.
=feere=, =fere=, =feire=, =feer=, mate, consort (fere): I, 295, 43; II,
58, 2. V, 15, 13: fellow (contemptuously). See =feires=.
=feert.= See =feart=.
=feet=, _pret._, IV, 355 b, =D=: hired. See =fee=.
=feeties=, V, 209 b, 4: feet.
=feght=, fight. See =fecht=.
=feid=: feud. See =feed=.
=feires=, =feiries=, I, 295, 43; IV, 2 =f=., 7, 20, 22: comrades,
consorts. See =feere=.
=felaushyp=, III, 67, 229: abstract for concrete, our fellows.
=felischepe=, fellowship.
=fell=, =fail=, =feale=, =feall=, IV, 266, =E= 29: turf.
=fell=, III, 300, 9; IV, 500, 10: skin, hide.
=fell=, III, 439 f., 4, 8, 11; IV, 455, 15; V, 55, 30: high land, fit
only for pastures, a wild hill. fells, III, 299 f., =C= 3, 6; IV, 26,
6; 500, 3: chain of hills.
=fell= (yard), I, 287, 63: severe, cutting. (spice), III, 388, 3:
hot, biting. IV, 258, 20: strange, prodigious. fell thing to see, II,
132, 27: strange. freezes fell, IV, 93, 7; 105, 7; 514, 17: sharply,
severely.
=fell=, _v._, II, 419, 46: kill.
=fell=, =feel=, I, 478, 14; II, 344, 15; V, 183, 20: very.
=fellen=, _p. p._ of fell, III, 483, 7: felled (a tree).
=fells=, befalls. well fells me, IV, 437, 25: good for me!
=felon= (the kynggis), III, 98, 21, 22: traitor, rebel.
=felt=, III, 146, 14: should be emended _delt_.
=fences=, cock shall crow fences three, II, 8, 10, 11: evidently bouts,
_coups_; but I have not found this usage elsewhere.
=fend=, =fende=, V, 283, 2; 284, 22: fiend.
=fend=, _v._, III, 300, 12; IV, 500, 13: provision.
=fend=, III, 440, 12: defence.
=ffend.= that ffend I Godys fforbod, III, 113, 72: seems to be a
double expression for deprecation,--I inhibit, protest, God forbid
(see =forbode=). “I fende to Goddes forbode it should be so: a Dieu ne
playse qu’aynsi il aduiengne. Palsgrave, p. 548, col. 1.” Hales and
Furnivall, Percy MS., III, 554.
=fende=, III, 61, 106; 117, 8: defend.
=fer dayes=, III, 57, 16: far on in the day.
=ferd=, III, 99, 52: fear.
=fere=, fere love, IV, 219, =B= 3, 5: fair. (fair love, V, 260, =E= 5.)
=fere=, =feere=, II, 58, 2; III, 22, 5: mate, consort.
=fere=, in, on, III, 57, 27; 59, 61; 67, 231; 77, 423; 98, 38: in
company, together. See =feare=.
=fferli=, I, 334, 7: fairly, civilly.
=ferlicke=, I, 334, 8: strange. See =ferly=.
=ferly=, =ferlie=, =ferley=, =farlie=, I, 325, =C= 1, 10; 329, 4; 333,
2; 424, =d= 11; III, 440, 20; IV, 455, 1, 13; 524, 10; V, 244, 8, 12:
marvel, wonder, news.
=ferly=, _adj._, ferly strife, III, 97, 13: strange, extraordinary. See
=ffarley=.
=ferra-cow=, =farrow-cow=, I, 224, =I= 9, 11; II, 261, 8: a cow not
producing a calf for the current year.
=fesh=, =fess=, III, 319, 15; IV, 94, 14; 257, 1, 2: fetch.
=fet.= See =fett=.
=fetchie=, III, 520 b (note to II, 272, 22): tricky, practising
fetches? Cf. wylie, st. 21.
=fetcht a race=, II, 454 f., 54, 58: took a swift preliminary run.
=fett=, I, 432, 5: fetch, _pret._ fet, fette, III, 31, 14; 63, 145; 64,
172; 298, 67.
=fett=, V, 224, 18: white.
=ffettle=, III, 92 ff., 15, 37, 56: make ready.
=feud=, II, 279 a, 16: contest of feeling?
=feughten=, _p. p._ of fecht, ficht, fight, I, 109, 15.
=feume=, IV, 473, 44: foam.
=fey=, I, 245, 6; IV, 44, 4; 430, 2: destined to death. See =fae=.
=ffeyt=, faith.
=feyther=, V, 296 a: father.
=ficht=, =fecht=, =feght=, _v._, IV, 84 f., 16, 26, 27, etc.: fight.
_pret._ focht, foucht. _p. p._ foughten, feughten.
=fie.= See =fee=.
=fie=, doomed. See =fae=.
=fiel=, =feel=, II, 176, =C= 3: fool.
=fieldert=, V, 126, 1: fieldward, away (from where they were).
=fiend thing=, IV, 23, =A c= 18: devil of a thing.
=fift=, II, 75, 6: fifth.
=file=, _v._, I, 135, 4: defile.
=file=, IV, 494, 33: while, till.
=fileshap=, V, 260, 16: fellowship.
=fill=, full.
=fill=, I, 403, 10: follow, pursue.
=filtt=, _p. p._, III, 490, 20: filed.
=fin=, find.
=fin=, craig and fin, II, 28, 27: whin, whin-stone, synonymous with
greenstone, but applied to any hard rock.
=finikin=, III, 174, 18: fine, handsomely dressed.
=fire-beams=, IV, 96, 3: should be fire-boams (bombs), as at 99, =G= 8,
=H= 6.
=fire-boams=, bombs. See =fire-beams=.
=firlot=, IV, 46, 3; 379, 13: the fourth part of a fou, which is a dry
measure varying from two to six Winchester bushels (a Winchester bushel
being of a slightly less capacity than the present imperial bushel).
=firmaty=, V, 114, 3: frumenty; in old cookery, wheat pottage, with
flesh in it; hulled wheat boiled in milk and seasoned with cinnamon,
sugar, etc.
=fit=, =fitt=, =fyt=, =fytte=, II, 54, 60: song. I, 329, 62; III, 25,
51; 27, 97; 308, 24: division of a song. (A. S. fitt.)
=fit=, I, 131, =G= 4, 5; 164, =J= 6; 302, =A= 7; 472, 28; 491, 26; IV,
119, 6: foot, feet.
=fit=, III, 142, 32; V, 240, 5: ready.
=fitches= (of deer), II, 132, 19: flitches, sides.
=fite= (bread), V, 220, 6: (probably) wheat. See =white bread=.
=fitt=, III, 465, 21: it is better to read sitt, as in Caw’s text.
=fitted=, IV, 18, 9: footed.
=fitted=, II, 485, 18, 31; V, 103 a: suitably treated or served. V,
132, 2: ready, disposed.
=fittie=, IV, 450 a, 4: foot.
=fivesome=, III, 472, 3: five together.
=flaff=, IV, 470, 20: flap, fan.
=flag=, I, 305, 3, 4; V, 213, 3, 4: corruption of _fag_, drab, slut.
See =fag=.
=flain in=, IV, 224, 23: correct to _fla_ or _flai_ (flew) _in_?
=flamboy=, V, 298, 7: flambeau, torch.
=flat=, II, 258, 45, 46: highest and lowest layer of a grave.
=flatte=, IV, 504, 32: positively determined on.
=flattered=, =flottered= (on the faem), II, 25 =G= 14; 27, 22: flitted,
floated (O. Eng. floteren, Germ. flattern).
=flattering= (toung), II, 144, 8: fluttering, waggling. flattering
tongue that flutters, II, 154, 21.
=flaugh=, =flaw=, _pret._ of fly, I, 286, 56; 397, =E= 8; II, 314, 9.
=flaw=, tell me without a flaw, V, 41, 28: lie.
=flay=, frighten. See =fley=.
=flay= (A. S. fléon), fly. _pret._ flaw, flaugh.
=fleachy=, II, 470, 53: infested with fleas.
=flear=, =fleer=, I, 454, 11; IV, 392, 7; 410, 26: floor.
=flee=, _v._, V, 304 b, 4: flay. _pret._ fleed.
=flee=, not a, IV, 53, 12: not a whit (fly, for a small thing). I
count him lighter than a flee, etc., III, 480, 23; 482, 19; 488, 26
(flea); 490, 15. left him not a flee, IV, 53, 12.
=fleechin=, I, 424, d 11; II, 32, =Q= 2: wheedling, cajoling.
=fleed=, _pret._, V, 304 b, 4: flayed.
=fleed=, =flied=, V, 257, 7, 17: frightened. See =fleg=.
=fleed=, IV, 348, 14; 349, 9: flood.
=fleer=, I, 69, 39; 298, 4; 452, 14: floor. See =flear=.
=fleet=, flute.
=fleg=, =fley=, =flay= (A. S. flégan, Old Eng. fleyen), V, 253 b, No
203, 3: frighten.
=flesse=, V, 283, 18: flesh.
=flex=, V, 283, 11, 21: flax.
=fley=, =flay=, III, 457, =A= 2; 474, 36: frighten. _pret._ fleed,
flied. See =fleg=.
=flight=, I, 21, note *: dispute and scold.
=flink=, care a flink, V, 259, 3: care a whit.
=flirry=, I, 424, d 10: blossom.
=flo=, =flon(e)= (A. S. flá, flán), I, 327, 10; III, 13, 5, 15: arrow.
=flotterd.= See =flattered=.
=flourishd=, I, 398, 13: adorned.
=flow=, IV, 79, 14: moss with a spring in it, morass.
=flower=, I, 352, 3, 4: get flowers for, or deck with flowers.
=flutters=, II, 154, 21: waggles,
=flyte=, =flight=, III, 414 b: dispute, debate, scold (here Percy’s
word, replacing _flout_ and _mock_).
=forward=, V, 283, 4: compact.
=focht=, _pret._ of fecht, ficht, fight, IV, 167, =C= 10. _p. p_.
feughten, foughten.
=fode.= See =feed=.
=folde=, _pret._, III, 76, 407: folded.
=folle=, foal.
=folye=, I, 327, 17: a very unlikely word (unless we may understand it
to have the meaning of Old Fr. foler, errer çà et là). Another text has
balye (Fr. baillie), which gives a good sense, under thine own control,
in thine own custody. (folye, in 17, may be caught from 18.)
=fone=, II, 196 b, 2, 8: foes.
=fond=, fond to see him sleep, II, 269, 26: doted, was foolishly happy?
(But probably corrupt: cf. fondly seen thee sleep, 271, 30.)
=food=, III, 287, 61: man. See =feed=.
=ffooder=, II, 46, 41: (cf. Ger. fuder, cart-load, the largest or one
of the largest measures for corn, liquids, and other things), here,
tun, as is clear from _auger_, 41.
=foonshief=, V, 206 a, 8: foundation, bottom sheaf of a stack.
=foor=, V, 99, =C= 4: fared, went.
=foote=, goe two foote, III, 188, 6: corrupt for fold; cf. 267, 9.
=for=, =ffor=. ye (yes), for God, nay, for God, III, 61, 105, 107; 69,
259, 267, 269, 271; 76, 413, 414: by.
=for=, II, 124, 38: before.
=for=, IV, 21, 6; 438, 9; V, 16 f., 2, 5, 29: where.
=for= _when_ but _would be expected_, II, 58, 11, 13; 59, 22 (see II,
57 b). for and, V, 76, 25; 144, 9.
=for no, I=, 183, 25; II, 256, =K= 3: phrase of refusal, obscurely
elliptical, after the manner of _why, no_; or corruptly for _fye, no_
(cf. II, 158, 2).
=forbears=, I, 206, 2; II, 63, 19: forefathers.
=forbode=, =forbott=, ouer Goddes, III, 29, 162; 123, 18; V, 199 a,
64: God forbid, against God’s prohibition; so A. S. ofer cinges bebod,
against the king’s order; ofer dryhtnes word, against the word of the
Lord, etc. Elliptically, God’s forbod, as III, 37, 79; 180, 16. III,
113, 72: see =ffend=.
=forbye=, =forebye=, I, 402, 1; II, 154, 8, 9; IV, 224, 17; 433, 16:
near by. I, 86, 33; II, 70, 22: apart, aside. IV, 203, 2: further.
=forbye=, =forebye=, =forby=, I, 305, 1; IV, 203, 2; V, 17, 32; 213 a,
1: besides.
=force=, no, III, 57, 13; 67, 227: no matter.
=forces.= for (thro, V, 306, 8) a’ her father’s forces, V, 166, 11: in
spite of all her father could do?
=fordoo=, destroy.
=fore=, first fore love, II, 191, 22, 25, 28, 29: earlier.
=forebye.= See =forbye=.
=fforefend=, III, 340, 26; 407, 5: avert, forbid.
=forehammer=, I, 21 b, 12; III, 474, 34: sledge-hammer, the large
hammer, which strikes before the smaller.
=foremost man=, 1, 146, 12; IV, 412, 19: apparently the bridegroom’s
“best man.”
=forenent=, =fornent=, I, 221 f., =E= 7, 17; 504, 7; IV, 77, 3; 288,
=F= 2; 451 a, 3, 5: over against, in the face of.
=foresteed=, V, 237, 28: protection, protector.
=foret=, I, 244, 10: forth.
=forfaulted=, V, 194, 68, 73: forfeited.
=forfouchald=, IV, 4 b, 28: very much tired. (Scottish wauchle,
forwauchld, forfaughlit.)
=forfoughen=, IV, 3, 28: tired out with fighting.
=forgone=, forgo.
=foriete=, forgotten.
=forked=, I, 492, 7; IV, 445, p. 100, =B= 7: of blood from a wound,
issued in divided jets.
=forl=, V, 116, 2; 117, 3: whorl, fly of a spinning-rock.
=for-lee=, she’ll come in att your formast an gee out att yer forlee,
IV, 377, 5; V, 275 b, 5: she’ll cross your bows and sail round you,
coming out at your fore-lee or lee-bow.
=forlorn=, I, 450, 8; II, 114, 15, 16; III, 124, 13; 212, 16: lost.
has him forlorn, II, 147, 17: causatively. II, 123, 13; V, 41, 23:
destroyed, killed. I, 183, 42; III, 145, 9; V, 210 b, 2: destitute,
deserted.
=forn=, _p. p_. of fare, II, 29, 6, 9. be weel forn: see that ye have
fared well, eat and drink heartily.
=fornents=, =forenent=, =fornent=, II, 197 a, 15: opposite to, directly
against.
=forren=, foreign.
=forsake=, forsake a ring, I, 192 a: let go, part with. forsake that
I haue promised, III, 29, 156: withdraw from. forsake this sorowe,
III, 73, 341: decline to have to do with this sad matter. II, 454, 52:
decline as adversary in a combat. III, 360, 106: refuse an appointment.
IV, 172, 1; 173, =K= 2: refuse suitors. III, 149, 33; IV, 181, 2: give
up, renounce.
=forth=, find forth, III, 148, 17; choose forth, III, 440, 9: out.
thou maye well fforth for to pay mee, II, 444, 58; thou mayst well
forth, thou shalt pay me, 449, 63; (=b=, mayst forthwith): go on, or,
make out?
=fforthi=, I, 329, 60: therefore.
=forth withall=, III, 127, 16 (play): forthwith.
=forthynketh=, III, 28, 137: repenteth.
=fortune be my chance=, III, 308, 21==my hap it were, 311, 16.
=forward=, III, 284, 11: van.
=forward=, V, 283, 4: compact.
=foster of the fe=, III, 28, 140: “A person who had for some service
to the crown a perpetual right of hunting in a forest on paying to the
crown a certain rent for the same.” Halliwell.
=fot=, I, 141 b, 10: fetched.
=fothe=, III, 112, 51: foot.
=fou=, II, 25, 8; 26, 11: a firlot, which see.
=fou=, V, 270, 9: how.
=fou=, =fow=, full. fou drunken, II, 144, 4.
=foucht=, _pret._, II, 391, 21: fought. IV, 200, 1: toiled. _p. p._
foughten, II, 418, 32; III, 277, 22; 281, 14; 333, 30.
=fouie=, IV, 20, 10: well off, “possessing a comfortable independence.”
Jamieson.
=fouled=, a bill was fouled against him, III, 463 a: (equivalent to)
found; he was indicted as guilty.
=foumart=, IV, 389 b: polecat.
=found=, III, 23, 15: provided for.
=foure-eard foole=, II, 483, 7: as denoting a double ass?
=fousome=, =fusom=(=e=), I, 302, =B= 3, 5, 6; 304, 2, 3: (fulsome)
disgustingly filthy.
=fow=, =fou=, II, 273, 35; III, 490, 13; IV, 168, =D= 14, 15: full.
=fowd=, V, 304 b: sheep-fold.
=fowk=, I, 245, 6: folk.
=frae=, =fray=, from. be frae, IV, 433, 21: remain away from.
=fraine=, _v._, I, 334, 6, 7, 10: question.
=frame=, IV, 78, 4: succeed. sae weel we frame: we are doing, or
beginning so well.
=frank=, of horses kept in a close, you keep them all both frank and
free, II, 450, 64: apparently, fat. Free is a much abused word, and the
only apt meaning here would be, liberally treated. In =A= 444, 59, you
keepe them ranke and royallye.
=ffrankely=, II, 440, 13: freely.
=free=, _n._, I, 334, 8: (complimentary term for man) noble, etc.
=free=, _adj._, is used in a great variety of senses, and is often
indefinite and hardly more than a rhyme word: bounteous, gracious,
of noble birth or rank, independent, unrestricted, exempt, spirited,
valorous, beautiful, precious, excellent in any way. The danger will be
in assigning too positive a meaning to the word. of Mary, III, 420 f.,
29, 44. lady, ladies free, I, 324, =A= 8; 328, 52; 464, 5; V, 87, 39;
279 a. a true-love free, IV, 461, 22. God make you safe and free (your
own master?), I, 427, 2; II, 177, 28; 421, 22. castles free, I, 465,
6; 474, 21. lands sae free, I, 474, 25. tocher free, II, 380, 33; 383,
26; 385, 27. Clymme of the Clowgh so fre, Little John so free, III, 26,
96; 154, 2. freyke fulle fre, III, 308, 30. of courage free, V, 86, 31.
chrystall free, II, 52, 17. gold soe free, V, 49, 23. gowd and jewels
free, I, 474, 23. silver free, II, 69, 9; 445, 64; 450, 70. money
ffeyre and ffre, III, 113, 82. metal free, III, 300, 7; 368 f., 12,
14; IV, 372, 7; (nonsense in IV, 404, 29). staff of oke so free, III,
138, 15. Less definite are the following: Couentrye faire and free,
Derby Hills so free, Cannongate-side so free, III, 284, 17; 323, 10;
386, 10; seas so free, IV, 498, 6; water soe free, V, 51, 68; forest
frie, V, 191 f., 8, 12, 23, 28, 34; learning my lesson free, I, 438,
=B= 7; chariot, coach, free, I, 475, 44; IV, 410, 29; 462, 35. horses
kept free, II, 450, 64: liberally. going free, IV, 289, 7: not under
control, running off. free of grace, V, 20, 24: void of grace, cf. 43.
=free=, _adv._, arowes ifedred fre, III, 69, 275; 70, 288: in handsome
style. ring she brake so free, I, 470, 26: generously (cf. II, 450, 64).
=freely=, _adj._, freely feed, I, 309, =B= 1: of noble birth, or
beautiful.
=freely= (naked), I, 508, 10: entirely.
=freits=, III, 434, 23: superstitious notions concerning omens.
=freke=, =freck=, =freake=, =freyke=, III, 298, 58; 308, 30; 309, 32,
47: bold man, man. (A. S. freca.)
=frem=, foreign.
=frembde=, _adv._, frembde bested, III, 63, 138: in the position of a
stranger (other readings, frend, friend).
=frese=, frese your, our, bowes of ewe, III, 67, 215; 80, 215: seems to
be corrupt. The interpretation in Donaldson’s Supplement to Jamieson,
where “to frese a bow” (cited as if a phrase in full use) is said to
mean unbend, slack, would be entirely inappropriate here, since three
men are to make a desperate attack on two hundred and fifty (bende your
bowes, st. 218). =f=, =g= have, bend we, the required sense. Chese will
not do; they have but one bow each. leese==loose is possible, or dress,
or even, free.
=frichtit=, frighted.
=frienged=, =fringed=, gray, III, 481, 7; IV, 2, 5: referring to mane
and fetlocks, or perhaps to long fetlocks only.
=frightened= the boar will, I, 214, 3: afraid, etc.
=frith=, =frythe=, =firthe=, V, 191 f., 14, 24: enclosed land, wood.
=froom=, V, 296 a: from.
=froth-mill=, I, 305, 13: “wauk-mill, or fulling-mill, from the froth
of the soap.” But the expression seems not to have been heard of, and
froth-mill is more probably corrupt for frozen mill. See next word.
=frozen mill=, V, 213, 10: mill of which the lade, or canal conveying
the water, is frozen.
=frush=, IV, 185, 13: brittle.
=frythe=, I, 329, 3: enclosed land, preserve, deer-park, wood. See
=frith=.
=fue=, few.
=fug=, I, 302, 3, 5: slut, filthy woman. See =fag=, =flag=.
=fuird=, II, 471, 6: =ford=
=fule=, fowl.
=full=, IV, 356, =B= 1: proud.
=fun=, =fune=, V, 215, 15; 248, 9: whun, whin, furze.
=fundid=, I, 334, 8: went. (A. S. fundian.)
=fur=, II, 188, 12; III, 474, 41: furrow.
=fusom=, =fusome=, =fousome=, I, 302, =B= 3, 5, 6; 304, =F= 2, 3; IV,
469, 10, 12: offensive, disgusting (fulsome).
=fusty bandyas=, V, 72 b: a drinking-formula.
=fute=, =whute=, _v._, III, 123, 15: whistle.
=fynde=, III, 308, 24: Professor Skeat would read fyne, end.
=fynly=, III, 70, 284: goodly.
=fyt=, =fytt=, =fytte=. See =fit=.
G
=ga=, =gaa=, =gaw=, I, 420, 9, 10; 421, 9, 10; 423, 6, 7; V, 216, 9,
10: gall.
=ga=, =gaa=, I, 146, 5; V, 166, 8; 221, 16; 227, 6; 247, 3; 278, 25:
go. See =gang=, =gae=.
=ga=, =gaa=, IV, 513 a, 4; V, 221, 14; 242 a, 8; 268, 23: gave.
=gab=, _n._, I, 302, B 12: 422, 13: mouth.
=gab=, _v._, II, 149, 17: prate.
=gab=, _n._, I, 277 f.: joke, sportive brag.
=gabber reel=, I, 217, 8, 13: evidently a sprightly air. The root may
be Icelandic gabb, mockery. Perhaps simply gabber, jabber.
=gaberlunyie=, V, 115 f., 6-10; 119, 8, 9: beggar’s wallet.
=gad=, =gaud=, I, 342, 33; 344, 32; 348, 13, 19; 356, 42; III, 505, 21:
bar.
=gad=, =gade=, IV, 493 f., 13, 26: went.
=gaddie=, IV, 273, 1==gaudie: showy, dashing.
=gae=, =gai=, =gay=, =ga=, =gaa=, =gee=, =gie=, I, 69, 49, 62; 71, 39,
50; II, 304, 17; 468, 14; V, 166, 7; 278, 24: go. _pret._ gaed, gade,
gad, gaid, gied, gid, ged, good, gude. _p. p._ gaen, gain, gane, gaed.
_pres. p._ gain, gan, gaen, gane, gaun, gawen, etc. See =gang=.
=gae=, =gang=, =go down=, IV, 12, =C= 6, 7; 518, 2: be hanged.
=gae=, IV, 493 f., 23, 32: give.
=gae=, _pret._ of gie, I, 69, 55-58, 68; 71, 45-47; 75, 42; 108, 15:
gave.
=gae=, =gay=, =gey=, _adv._, V, 266, 9: (gay) pretty, rather.
=gaed=, =gade=, =gad=, =gaid=, _pret._ of gae, go, I, 102, =D= 4; 103,
=E= 3; 131, =G= 10; 439, 14, 15; II, 140, 17, 18; III, 453, 10; IV,
395, 6; 494, 26; V, 117, 11; 238, 27; 274 b, 6; 278, 24.
=gaed=, _p. p._, II, 70, 21; III, 473, 30: gone,
=gaen=, =gain=, =gane=, _p. p._ of gae, I, 70, 19; 108, 12; II, 468 f.,
15, 18, 22; IV, 507, 2; V, 237, 5: gone.
=gaen=, =gain=, _p. p._ of gie, gae, give, I, 469, 23 (gaen the table,
given a knock); III, 271, 13; V, 183, 34. So perhaps II, 212, 15; cf.
gain, fifth word below.
=gaeng.= See =gang=.
=gae-through-land=, IV, 428, 13: vagrant.
=gai.= See =gae=.
=gaid.= See =gaed=.
=gain.= See =gaen=.
=gain=, =gaine=, =gaing=, =gan=, =gaen=, =gane=, =gaun=, =gawn=,
=gawen=, _pres. p._ of gae, ga, go. gain, etc., I, 466, 15; II, 151,
=H= 2, 4; IV, 257, 8; V, 247, 15; 256, 6. gan, etc., II, 144, 12; IV,
210, 3; 507, 2.
=gain=, II, 212, 15, ye’s gain as much at mine: will get, receive. (But
will (have) given, dealt, is perhaps possible.)
=gain= (him at the law), IV, 286, 3: Icel. gegna, to proceed against?
=gain=, =gane= (Icel. gegna, to suit, be meet), II, 25, 8; 26, 11 (with
ellipsis of will): serve, suffice. II, 369, 15: suit my case.
=gaing.= See =gain=, _pres. p._
=gair=, pay meat and gair, V, 268, 27: gear, clothes an arms? or money
(a variation of pay meat and fee)?
=gair= (of clothes). See =gare=.
=gait=, III, 266 b; 272, 5; IV, 265, =A b= 10: way, road. See =gate=.
=galerie=, V, 140, =f=. 1, 5: for gallaly, galley (doubtful form).
=Galiard=, III, 459 f., 1, 4, etc.: _sobriquet_ of a freebooter of a
gay (perhaps dissipated) character.
=galla.= See =gallowe-tree=.
=gallage=, V, 247, 20: gallows.
=gallaly=, =galalie=, V, 136 f., 1-3, etc.; 141, =d= 1: galley,
prolonged for metrical convenience.
=gallan=, =gellant=, =gillan=, IV, 260, 4; 315 f., 1, 4-7, 18: gallant,
gayly or finely dressed.
=gallio=, V, 141, 2, 3, etc.==galley O.
=gallowe=, _sing._ (like A. S. galga), a gallowe, III, 92, 18. Cf. next
word.
=gallows=, the highest, I, 150, 13: one elevated above a triangular
framework, for special offenders; der höchste Galgen; see Grimm’s
Deutsches Wörterbuch, Galgen, column 1168 (?). Perhaps simply the
highest that is to be had.
=gallows-pin.= See =pin=.
=gallow-tree= (A. S. galgtréow; O. Eng. galwetre), III, 24, 43; 180,
17; 358, 71; 368, 10. gallou-, gallage-, galla-tree, gallow-pine, V,
247, 17, 18, 20, 23, 24.
=gam=, game.
=game=, had god game, V, 80, 46, 47: sport, amusement.
=gamene=, I, 328, 52: game, sport.
=gamon=, II, 59, 25: gamen, amuse himself.
=gan=, =gane=. See =gain=, _pres. p._
=gan=, =gon=, with infinitive: began, did.
=gane=, II, 26, 11: serve, suffice. See =gain=.
=gane=, _p. p._ of gae, go. See =gaen=.
=gane=, III, 281, 14: _p. p._ of gae, give. See =gaen=.
=gane frae=, IV, 378, 3: gone ahead of, left behind.
=gang=, =gange=, =gaeng=, =gieng=, I, 55, =A= 5; 57, 4; 68 =f.=, 21,
37, 46; 75, 36, 39; 217, 16; II, 175, 13; 468 =f.=, 13, 14, 38, 39;
III, 75, 397; V, 16, 2, 5: go, walk. _pret._ yede, yeede, yeed, yed,
ȝede, yode, yod, youd. _p. p._ gaen, gain, gane, gaed, gade, gad, gaid,
gude, good. _inf._ also, gon, gone. _p. p._ ganged: III, 362, 102. See
=gae=.
=gang=, =gae=, =go down=: IV, 11, 9, 12; 12, =C= 6, 7; 518, 2: like the
Scottish _be put down_, be hanged.
=gantrees=, II, 369, 11; 370, 11: barrel-stands.
=gar=, =gaur=, I, 100, 8; 127, 15; 130, 8; 397, =D= 9, 11, 13; II,
115, 30, 31; 153, 16; 358, 17, 22-24: (Icel. göra) make do, cause. as
auxiliary, gar lay, I, 5, =D= 1: do lay, lay. So II, 106, 11; 107, 19;
216, 3, 4.
=garded=, III, 117, 16: looked at.
=gare=, =gair=, =gore=, properly, a triangular piece of cloth inserted
in a garment to give width at that part; in Old English often coat or
gown. low down by his (her) gare is a frequently recurring expression
which may be taken literally, down by that part of a garment where the
gore would be==low by his knee, II, 197, 18. In, your ain hand sewed
the gare (of a shirt), II, 379, 13; 389, 5; 395, 12 (following ain hand
sewed the sleeve), gare in the limited sense seems hardly important
enough, and perhaps is to be understood side: cf. rive it (sark) frae
gore to gore, gair by gair, I, 439, 4; 440, 5, 7; 441, 6, 7; 442, 5,
6; II, 294, 31, 32. So also in, frae breast to gare, I, 438, =B= 4,
probably, though the limited sense would answer. So, riven him frae
gair to gair, IV, 416, 17; the brown bride pat her hand in att Annë’s
left gare, V, 224, 20. penknife, sword, brand, down by (below) his
(her) gare, I, 451, 9; II, 98, 40; 144, 6; 154, 11; 172, 34; IV, 465,
38. keys hung leugh down by her gair, IV, 465, 34. she hung’t (cup of
wine) low down by her gare, II, 369, 10 (recklessly and absurdly; the
cup is in her hand in the next stanza). In, frae my sark ye shear a
gare, I, 388, =A= 8, 9, =B= 6, gare must be a strip large enough to
make a bandage for the head.
=gare=, III, 98, 24: ready.
=garl=, II, 129, 18; V, 223 a, No 66, 18: gravel (suspicious word).
=garlande=, III, 93, 31; rose-garlonde, III, 75, 398: a circular
wreath, apparently hung upon a wand or rod. In III, 93, 31, this can be
nothing more than an extemporized circlet of twigs.
=garlings=, II, 366, 24: garlands.
=garmarcie=, =garmercy=, III, 33, 130; 81, 34: gramercy.
=garned=, the bride she garned round about, IV, 410, 23, is a misprint
of Buchan’s for _gazed_, which stands in the original MS.
=garrett=, III, 332, 16: watch-tower, look-out.
=gars=, =garse=, IV, 221, 11; 467, 7: grass.
=gartan=, =garten=, =gartin=, IV, 169, 10; 170, =H= 6; 175, =M= 8; 176,
=N= 14, =P= 2; 490, 12: garter. (Gael. gairtein.)
=garthes=, girths.
=gast=, guest.
=gate=, =gait=, =get=, I, 225, 8; II, 311 f., 2, 15, 21; 402, 10; III,
92, 11; 477 f., 11, 15 (ford); 480, 24; IV, 3, 21; V, 99, =C= 4: way,
road. water-gate, V, 250, 12: round by the water. in this gate, II,
73, 26: in such a way or condition. to the gate (get) has gain, IV,
493, 5; V, 237, 5: has gone away. tuke the gate, II, 30, 7; IV, 392, 9:
started, departed.
=gaucy=, IV, 271, =B= 1; V, 152, 3: lusty, jolly.
=gaud.= See =gad=.
=gaudie=, =gaudy=, =gawdie=, IV, 273, 12, 13, of speech: with a stately
or pompous air. 274, =D= 19; 297, 13: showy, conspicuous. 274, =E=
1: dashing. gaudy locks, 285, 10, 19: bright-colored. 356, =B= 1:
ostentatious.
=gaule=, I, 272, 11: of the color of gall; or gules, red.
=gaun=, =gawn=, =gawen=, I, 22, =A= 1, =B= 1; III, 473, 21-24; 479, 8;
IV, 261, 8; 511 a, 6; 513 a, 3: going.
=gaunt=, IV, 20, 12: yawn.
=gaur=, =gar=, I, 73, 36; IV, 226, 11: make.
=gavellock=, =gavlock=, III, 470 b; 493, 10: iron lever.
=gavil-post=, II, 227 a: gable-post.
=gaw.= See =ga=.
=gawdie.= See =gaudie=.
=gawen=, =gawn=. See =ga=, and =gaun=.
=gay.= See =gae=.
=gay=, =gae=, =gey=, _adv._, II, 184, 16; IV, 271, 9; 329, =c= 20; V,
266, 9: pretty, rather.
=gaze=, IV, 313, 10: gauze.
=ge=, ye.
=ge=, give. See =gie=.
=gear=, =geare=, =geere=, =geir=, =gier=, I, 411, 5; II, 182, 5; 184,
9; 185, 38; III, 440, 12; 459, 3; IV, 6 f., 5, 19, 29; 469, 10; V, 170,
3, 4: goods, property, often cattle. silken gear, I, 145, 22: clothes.
III, 440, 7, 18, 19; 446 b: fighting equipments. the less gear and the
mair, III, 8, 23: smaller game and greater. pay meat an gair, V, 268,
27: clothes and arms? or money? III, 341, 47; 404, 1; IV, 505, 51; 506,
66: business, affair.
=geat.= See =get=.
=gecks=, gien the, II, 105 f., 20, 21: made a fool of. Geck in German,
the northern languages and English, fool; in Scottish, according to
Jamieson, “sign of derision, gibe, cheat.” See =gowk=.
=gee=, give. See =gie=.
=gee=, =gie=, IV, 508, 2; V, 238, 22: go. _pret._ gied, gid, ged. See
=gae=.
=geere.= See =gear=.
=geet=, IV, 494, 37: get, progeny, child.
=geid=, _pret._ of gie, give, II, 277, =A= 8. See =gied=.
=gein=, _p. p._ of gie, IV, 316, 18.
=geir.= See =gear=.
=gell=, V, 221, 20 (unnecessarily changed to kell): congeal, freeze.
(Aberdonian.)
=gellant=, gallant. See =gallan=.
=gen=, V, 247, 10: given.
=gen=, gen Pasche, II, 146, 9: against, for, Easter.
=general=, with the, III, 176, 2: people in general (in public).
=genty=, I, 421, 10: elegant of form or dress, but here refers to
gentleness of disposition.
=gep=, =gip=, III, 138, 11; 140, d 11==gup, go up, get up (properly, a
call to a horse). marry gep, interjection of contempt==marry, come up.
=gereamarsey=, III, 111, 37: gramercy.
=gerss=, I, 450, 5; II, 248, 9, 15; 464, 8, 10: grass.
=get=, IV, 493, 5: gate, road (to the get he’s gane, has gone away).
See =gate=.
=get=, =gett=, =geat=, II, 470, 56-8; V, 238, 13, 24: progeny, brat.
=getterne=, I, 328, 49: a stringed instrument.
=geve=, give. See =gie=.
=gey=, _adv._ gey sad, II, 184, 15, 16: pretty, rather. See =gay=.
=ghesting=, I, 284, 17, 18: guesting, lodging.
=gie=, go. See =gae=.
=gie=, =gi=, =ge=, =gee=, =gae=, =geve=, =give=. gie, I, 71, 55, 56;
74, 76, 77; 206, 26, 30; 207, 30. =gi=, I, 68 f., 26, 69, 70; IV, 493,
21. ge, gee, IV, 222, 19; 493, 15; V, 228, 10; 248, 4, 5, 21, 22.
_pret._ gae, ga, gaa, gaed, geed, geid, gied. _p. p._ gin, gine, geen,
gein, gien, gen, gane, gaen. geve on (like take)==strike, III, 127, 53.
gien, II, 232, 13: struck.
=gied=, =gid=, =ged=, _pret._ of gae, gie, go, I, 74, 3; 80, 5; 310,
10, 12, 14; II, 75, 11; 357, 7; III, 434, 27.
=gied=, =geed=, =geid=, _pret._ of gie, give, I, 79 f., 24, 28; 439, 3;
II, 408 f., 3, 4; IV, 512 b, 8.
=gien=, =gine=, =gin=, =gein=, =geen=, =gen=, _p. p._ of gie, give: I,
100, 25; 467, 25; IV, 316, 18; 509 a, 13; 510, 16; 513, 12; V, 215,
13; 219, 23; 224, 20; 229, 30; 247, 10; 306 b, 3. V, 219, 23: given (a
blow) to.
=gieng=, II, 61, 3: gang, go.
=gier.= See =gear=.
=gif=, =giff===if, I, 70, 16; II, 21 =B= 10; 28, 3; III, 285, 22.
=giff-gaff=, I, 21 b, 14: give and take, tit for tat.
=gile=, III, 482 11: jail.
=gill=, a steep, narrow glen.
=gillan=, V, 272 b, 1: gallant. See =gallan=.
=Gilliecrankie=, be a, IV, 268, 22: a Gilliecrankie woman, live in
Gillecrankie (see 20), be a Highlander. =g= reads, hae a Killycrankie,
that is, a domestic battle, or row.
=gillore=, III, 136, 34: galore, in plenty.
=gilt=, III, 370, 10: money.
=gimp=, I, 387, 1; II, 220, 1, 3: jimp, slender.
=gin=, =gine=, =ginne=, V, 125, 9: a contrivance. specially, the
apparatus for fastening a door, I, 107, 4; II, 241, 23; III, 492,
6; IV, 445 f., 3, 4; 446, =b= 3, 4; door and window, IV, 480, 4, 5.
chappit (knocked) at the gin, I, 465, 11; IV, 445 f., 3, 4. lift the
gin (that is the lever for raising the latch), II, 158, 4; 165, 4, 7,
altered to pin. II, 158, 4, in the margin of the MS., and pin stands in
7 of the same piece. Otherwise, chin.
=gin=, I, 108, =B= 3, like the gin: corrupt, compare =A= 4.
=gin=, II, 23, =E= 8; 271, 34; 286, 3; IV, 412, 11; 485, 15; V, 243,
17: (of time) against, towards. II, 313, 14; IV, 138, =M= 1; 166, =C=
6; 392, 12: by the time that.
=gin=, _conj._, I, 5, =C= 8; 68, 21, 22; 70, 15; 72, 24; 310, 4, 5;
466, 4, 5; 468, 5, 8; 478, 4, 5, 8-10: if.
=gin=, =gine=, given.
=gine=, =ginne=, _n._ See =gin=.
=gip.= See =gep=.
=gird=, III, 35, 19: blow, stroke.
=girded out=, =guirded=, V, 76, 23; 82, 37: cracked, let.
=girdle=, I, 403, 12: griddle.
=girds=, II, 70, 27; IV, 481, 6: hoops.
=girn=, I, 344, 31: (of a hound) snarl. IV, 69, 18: (of men hanged)
grin.
=girth was the gold-twist to be=, III, 490, 16, see 486 b. girth should
probably be graith, but admitting this, the sense is not clear, and
further corruption may be suspected. We may understand, perhaps, that
after the rescue the mare was to have a caparison of gilded chains. Or
we may read, her graith was used the gold-twist to be.
=gitter=, V, 243, 16: gutter.
=giue=, II, 442, 7, 10:==gif, if.
=gives=, II, 448, 26: misgives.
=gladdynge=, III, 70, 297: gladdening (_cheering_ in later texts).
=glaive=, =glaue=, IV, 491, 11; V, 235, 32: sword. See =glaue=.
=glamer=, =glamour=, =glamourie=, =glaumry=, IV, 65, 2; 66, 2; 67, 2;
68, =D= 2, =E= 2; 70, =F= 2, etc.; 367, 8; V, 301, No 200: a charm
deluding the eye. IV, 310, 14: glitter, gleam.
=glance=, III, 394, =K= 6; 397, 5; IV, 508 a, 8: shine.
=glaned=, IV, 406, 14: (giant, from glent) glanced, shone.
=glar=, I, 494, 18: mire.
=glashet=, I, 434, 36: (O. French, glacer, glachier) darted, flashed.
=glasse=, III, 340, 32; 344, 30, 31; 349, 31; IV, 504, 36: lantern,
ship-light.
=glaue=, =glaive=, III, 105, 20: (in this place) a cutting weapon fixed
to the end of a pole. See =glaive=.
=glaumry.= See =glamer=.
=glazen=, of glass.
=gleat= (Icelandic glit), I, 100, 28: glitter.
=glede=, =gleed=(=e=), I, 285, 28; 287, 67; 342, 34; III, 308, 14; IV,
379, 14; V, 184, 42: glowing coal. II, 115, 29; 140, 18; V, 27, 46:
fire. See =glyde=.
=glee= (==glue), I, 68, 9, 12: glove.
=gleid=, =gley=(=e=)=d=, IV, 56, =B= 3; 58, 3, 4, 9, 10; 135, 23, 24:
squint-eyed.
=glen=, set her on the glen, IV, 284, 25; take her to the glen, 286,
29; set her to the glen, 287, 18: because, the roadways running usually
through glens, this amounts to a public exposure.
=glent=, I, 105 a, 28: glitter, glancing. wi a glent, II, 119, 19; IV,
467, 14: in a flash, a moment (otherwise, in a glent).
=glent=, III, 307, 6: glanced, went (perhaps, darted).
=gley=(=e=)=d.= See =gleid=.
=glided=, I, 333, 3: glittered, glinted.
=glintin=, IV, 450 b, 6: gleaming, flashing.
=glister=, IV, 510, 5: shine.
=gloamin=, III, 319, 23: twilight, evening.
=gloe=, III, 455, 8, 9, 11: glove. See =glee=.
=gloom=, IV, 94, 9: frown, morose look.
=gloom=, I, 302, =A= 11, =B= 9; 303, =C= 6; IV, 337, =g= before 20:
frown, look sullen.
=glore=, II, 319, 13: glory.
=glove=, cut my glove, etc., II, 105, 18: lovers were wont to cut a
glove and each take a part. S. W. will take in his hand the half of his
glove which represents Janet and dance for two. T. Davidson, played
at the glove, III, 448, 5: some game for braw gallants, unexplained;
possibly, spearing a glove when riding rapidly.
=glove tee.= See =tee=.
=glowd=, =glowde=, II, 454 f., 54, 58: glided.
=glowred=, IV, 429, =a= 15: stared.
=glue=, II, 147, 12: glove. See =glee=, =gloe=.
=glyde=, II, 375, 19: spark. See =glede=.
=go=, =goe=, =goo=, =gone=, III, 64, 160; 71, 302; 77, 429; 105, 22;
432, 19: walk. go boun away, IV, 224, 15, 16: go, depart. go down, IV,
13, 2, 3; 14, 2: be hanged (cf. =gae down=). goe vppon his death, V,
53, 99: pass upon the question of.
=gockies=, II, 470, 48: deep wooden dishes.
=god=, =godde=, III, 113, 72, 78, 80: property, goods.
=God=, _omitted_, O save and you may see, III, 181, 19; 184, 16.
=God=, II, 46, 51; III, 29, 146; 59, 62, 63; 61, 92; 68, 240; 75, 391;
101, 90; 105, 23 (_mood_, wrongly for _my God_?); 359, 103; 444, 16,
17: the second person in the Trinity.
=God a marsey=, =God amercy=, =God have mercy=, III, 111, 39; 138,
22; 149, 41; 445, 30; V, 76, 10; 77, 39; 80, 51, 53; 81, 13; 83, 55:
gramercy (not Dieu merci, thank God, which meaning, unlikely in all, is
impossible in most of the cases).
=God beffore=, V, 79, 19: before God (attestation). Cf. for God. But
perhaps _God before_ (_and God before_) is always to be distinguished
from _before God_, and to be understood as, God my guide or helper;
which sense seems to be required in Shakspere’s Henry V, I, II, 307,
III, VI, 165; Percy MS., Hales & Furnivall, III, 30, v. 304, 528, v.
57. [So, and God to-forn, in Chaucer, Troilus, I, 1049; II, 431. Cf.
also King Edw. and the Shepherd, Hartshorne, Ancient Metrical Tales, p.
47; Peniworth of Witte, Englische Studien, VII, 116, v. 287; Weddynge
of Syr Gawen, v. 640, Madden, p. 298^3; etc.]
=God’s peny=, V, 14, 5; 15, 27: an earnest-penny, to bind a bargain.
=Godzounds=, V, 93, 4, 8, 12, etc.: God’s wounds.
=gogled=, III, 179, 7: joggled, waggled.
=golden-knobbed= (gloves), II, 133, 6: ornamented with golden balls or
tassels. (siller-knapped, 134, 8, 13.)
=golett= of þe hode, III, 99, 49: throat, part covering the throat.
=gon=, =gone=, _infin._ of go, III, 24, 45; 35, 32; 66, 204; 67, 223;
71, 316; 74, 363; 77, 435; 111, 28.
=gon=, gon gae, I, 333, 3: did go.
=gone=, _subj._ of gon, go, III, 67, 219.
=good=, =gude=, _pret._ of go, III, 464, 4; V, 153, 1.
=Good=, V, 199 b, 20: =God.=
=Good-ben=, III, 267, =A= 10. If _ben_ is to stand, it must be
_benison_ abridged. Good benison be here, quoth he, makes a
satisfactory line. Compare =B= 9, =D= 9.
=good-brother=, IV, 168, 9: brother-in-law.
=good b’w’ye=, III, 134, 6: God be wi you, good-bye.
=goodman=, III, 274, 33, 35; V, 91, 1, 5, etc.; 98, 2, 3: master of a
house.
=good-mother=, IV, 412, 19: mother-in-law.
=good-son=, IV, 283, 10: son-in-law.
=goodwife=, III, 274, 33, 35; V, 91, 2, 6, etc.; 98, 1, 2: mistress of
a house, housewife.
=goold=, V, 296 a: gold.
=gorgett=, III, 422, 75: defense for the neck, here a part of a jack.
=gorgett=, II, 45, 32: a neckerchief. (“Nearly==wimple in Edward I.’s
time; in 15th century, neckerchief.”)
=gorney=, journey.
=goud===gan, did, IV, 20, 12, 13. (Cf. begoud==began.)
=goud=, =gowd=, _n._ and _adj._, I, 127, 12; 135, 9-12; 351, 35; 429,
28: gold.
=gouden=, =gowden=, I, 127, 21, 22; 145, 23: golden.
=goudie=, =goudy=, V, 110, 7; 267 b, 10; 268, 19: golden, yellow
(locks).
=goun-teall.= See =gown-tail=.
=goupen=, I, 356, =D b= after 23: hollow of the hand.
=gouernor=, I, 286, 40: director, guardian.
=gowans=, I, 55, =A= 1: daisies.
=gowany=, I, 315, 12: covered with daisies.
=gowd.= See =goud=.
=gowk=, II, 111, 12: (cuckoo), fool. gien me the gowk, made a fool of
me. See =gecks=.
=gown of green=, gien her a, II, 472, 2: defloured. got on the, I, 350,
11: strangely used for to be with child; properly, she got a gown of
green eight months before: it can hardly mean, put on a green gown,
literally, as at I, 358, 40.
=gown-tail=, =gooun-teall=, II, 31, =M= 4; 472, 19; V, 235, 4: lower
part of the skirt of a gown.
=goy=, joy.
=graid=, great.
=graie dogs=, III, 7, 1: Scottish hunting dogs, deer dogs, rough
greyhounds.
=grain=, sitt in a graine, I, 210, 5: fork of a tree. III, 267, 21;
269, 14; V, 243, 17: branch of a tree.
=graith=, _n._, IV, 86, 8: equipment (horse and arms).
=graith=, _v._, V, 192, 34; 198 b, 34: make ready. _p. p._ graithed,
IV, 2, 5; 27, 26: equipped in defensive armor. golden graithed behin,
II, 191, 18; gowden-graithd before and siller-shod behind, II, 343,
4; shod wi silver afore an gold graithed behind, II, 194, 16, 20:
properly, harnessed, but as the horse is silver-shod before and gold
behind, 183, 16; 185, 23; V, 224, 14, shod seems to be meant here. So
in the patched-up ballad IV, 410, 18. The horse silver-shod before and
gold-shod behind is a commonplace; see II, 266, 1; 267, 1.
=graithing= (gowd), IV, 410, 18: harness or caparison, behind horse.
But see =graith=, _v._
=grammarye=, =grammeree=, V, 294 b, 2: grammar, learning. II, 53, 36,
41; 54, 55; 55, 68: magic. Gramery==grammar, learning, occurs three
times in the Towneley Mysteries, but strangely enough seems not to have
been heard of in the sense of magic till we come to Percy’s Reliques.
Percy suggests that the word is probably a corruption of the French
_grimoire_, a conjuring book. Grimoire, however, does not appear until
the 16th century and was preceded by gramoire (Littré). Gramaire in the
13th-15th centuries has the sense of magic: see the history of grimoire
in Littré. Godefroi interprets gramaire savant, magicien.
=grandmother over=, IV, 70, =G= 2: corruption of, glamer, oer her.
=grange-house=, III, 360, 116: farm-house.
=grat=, II, 70, 25; 323, 26, 27; IV, 7, 35; V, 156, 11, 13, _pret._ of
greet, weep.
=gravat=, II, 283, 21; V, 240, 14: cravat.
=graveld green=, II, 158, 1: a green with gravel walks? Probably
corrupt: in yonder green, =B=, garden green =G=.
=gravil=, I, 350, 18, 19 (pile o the gravil): expounded by Donaldson,
Supplement to Jamieson, p. 304, as “the plant graymill or gromwell, of
the genus _Lithospermum_, anciently used in the cure of gravel, hence
its name. Said to be used also in producing abortion.” I fear this is
somewhat conjectural or even arbitrary. The pile seems to be simply
some downy plant (velvety moss) which grows on stones; indeed we are
expressly told this, IV, 456, 9, 12: ‘a flower, it grows on gravel
greay,’ ‘the pile that grows on gravel green.’ (We have gravel green
and gravel grey in the ordinary sense again, I, 347, 1.)
=greaf=, grave.
=greahondes=, =grehoundis=, greyhounds.
=great=, I, 252, 3, 5: groat.
=great=, IV, 373, 15; V, 176, 16: intimate, high in favor.
=grece=, harte of, III, 27, 105: a fat hart.
=gree=, III, 61, 108 (made the gree): paid my dues. (make gre in Old
English, to discharge obligation; Old Fr. gre, gret, from gratum.)
=gree=, from them take the gree, IV, 248, 16: prize, superiority. (Lat.
gradus.)
=greecy= (ghost), II, 390, 27: frightful (grisly).
=greeme=, I, 69, 51: (groom) young fellow. See =grome=.
=greet=, =greit=, I, 186, =B= 3; 359, 1, 2; 448 f., =B= 1, 5; II, 77,
30; III, 384, 4; 387, 6; 391, 5; V, 36, =C= 3: weep, cry. _pret._ grat.
=greete=, III, 105, 26: grit, gravel, sand.
=greeter=, V, 183, 17: weeper.
=greeting=, weeping.
=grefe=, III, 69, 268; 83, 268: 87, 268: offence, displeasure. a-grefe,
III, 69, 268: in displeasure.
=grehoundis=, greyhounds.
=greit=, =greet=, weep, cry.
=grenner=, _compar._, V, 283, 9, 19: greener.
=gret=, _pret._ of greet, address, III, 111, 40.
=grett wurdes=, III, 297, 31: high, haughty words.
=grevis=, III, 307, 6: groves. See =grief=.
=grew=, grow.
=grew=, V, 113 b, 7: greyhound. See next word.
=grew hound=, =grew=(=e=)=hund=, I, 328, 47; II, 70, 24; 79, 37: Dr. J.
A. H. Murray says Greek hound; “still called in Scotland a grewe, which
was the older Scotch for Greek.” Grew==Greek is well known in Middle
English, and _greyhound_ (Icelandic greyhundr) may have been changed to
_grewhound_ under its influence.
=grey= (meal), oat-meal and grey, II, 462, 30: barley-(bere-)meal, as
distinguished from oat-meal (==white meal).
=grief=, V, 151, =F= 1: grove. (tier _should be_ tree.) See =grevis=.
=grien=, III, 397, =Q= 2: yearn, long.
=griesly=, =grisly=, =grizly=, I, 298, 4: 300 a; V, 234 b, 31:
frightful.
=grievd=, _pret._, III, 162, 58: injured.
=grimlie=, =grimly=, II, 45, 19, 31; 199 a; 201, 7: grim, terrible.
=grind=, II, 216 f., 4, 27, 29: an apparent corruption for _graith_,
_graithed_, accoutre, adorn. Cf. II, 191, 18; 194, 16, and many other
places.
=grinding=, I, 130, 1; 134, =O= 1: this word of the refrain may be
suggested by the mill.
=grips=, IV, 53, 13: clutches, fastenings. See =signots=.
=grisel=, =grissell=, III, 369, 20, 23: gray horse.
=grisly=, II, 397, =A= 30: terrible. See =griesly=.
=grit=, =grite=, =gryte=, IV, 312, 9; 445, b 1: great.
=grit oats=, IV, 20, 14: great, or improved oats as distinguished from
the sma corn or oats of the early part of the century.
=grith=, III, 101, 86, 87: (peace) remission of hostility, “charter of
peace.” neither grith nor grace, 358, 65.
=grizly=, IV, 398, 21: frightful. See =griesly=.
=grome=, =groom=, =greem=, I, 75, 40; 77, 20; 342, 40; 345, 38; 355,
52; 371, 3; III, 56, 4; 67, 224: man, young fellow.
=gross=, II, 267, 13; 268, 18: big, burly.
=ground=, the grounds o my pouches, V, 306, 9: bottoms (V, 165, 6 has,
the boddoms of my pakets).
=ground-wa-stane=, III, 433, 12, 13: foundation-stone. (A. S.
grundweall, fundamentum.)
=growende=, ground.
=grumly= (A. S. gramlíc, gromlíc), (of the sea) II, 22, 10: furious.
(of a seal) II, 494, 2: fierce-looking. (Jamieson: muddy, turbid.)
=grun=, ground.
=gryming=, IV, 6, 7; V, 249, 7: sprinkling, thin covering.
=grype=, II, 45, 19, 31: griffon (also vulture).
=grysely=, III, 298, 60: frightfully.
=gryte=, great: I, 127, 22. See =grit=.
=gude=, gued==God, II, 94, 17; V, 221, 24.
=gude=, =guid=, =gueed=, good.
=gude=, =good=, _pret._ of go, III, 464, 4; V, 153, 1.
=gude father=, =gude faythir=, I, 301, 1; 302, 1; 303, =C= 1:
father-in-law.
=gudemother=, II, 284, 10: mother-in-law.
=gude neighbours=, I, 352, 8: euphemism for fairies.
=gudeson=, =guidson=, II, 463, 20; IV, 309, 3; 310, 6: stepson,
son-in-law. wrongly used of an own son, II, 219, 9.
=gued=, =gueed=(=e=), I, 68, 10, 14; V, 221, 24: good.
=gued=, God. See =gude=.
=guid=, good.
=guide=, =gyde=, _n._, I, 101, 9; 102, 7; IV, 174, 19; 425, 5: one who
has charge, etc., custodian. I shal be þe munkis gyde: III, 98, 35:
take charge of him. death is her guide, II, 191, 29: has her in hand.
this sword shall be thy guide, V, 49, 28: shall settle thy case. IV,
309, 2: escort, convoy.
=guide=, _v._, I, 481, 44; II, 152, =I= 2; III, 459, 21: treat, use.
=guiding=, gude, I, 303, =C= 3: thrifty management.
=guidson.= See =gudeson=.
=guildery=, guildery maids, V, 301 b, 5: guildry is Scottish for guild,
but this makes small sense here.
=guilt=, all of guilt, II, 46, 43: of gilding or gilt metal, all begilt.
=guirded=, V, 77, a b 23. See =girded=.
=gull=, III, 217, 44: a fool.
=gunies=, guineas.
=gurious=, II, 380, 31: (same as gruous, grugous) grim, grisly (or,
ugly).
=gurly=, (sea) II, 26, 14; IV, 366, 7: grim, surly, growling. gurrl(e)y
fellow, IV, 489, 24, 25: gruff, surly.
=gutter-hole=, I, 164, =K= 3: the place where filth from the kitchen is
thrown.
=gyde=, be þe munkis, III, 98, 35: take charge of the monk. See =guide=.
=gyff=, =gif=, if.
=gyll=, II, 478, 4: opprobrious term for woman, here referring to
levity.
=gyrde=, _pret._, III, 66, 211: girt.
=gyst=, III, 13, 10: gettest.
=ȝare=, III, 98, 24: ready. See =yare=.
=ȝates=, =ȝatis=, III, 99, 61, 62: gates. See =yate=.
=ȝe=, V, 283, 1: ye.
=ȝe=, III, 97, 6: yea.
=ȝede=, III, 99, 60: went. See =yede=.
=ȝelpe=, III, 14, 16, 17: brag.
=ȝeluer=, _compar._, V, 283, 11, 21: yellower.
=ȝeman=, =ȝoman=, III, 99, 58; 100, 74; 101, 86, 87: yeoman.
=ȝete=, III, 100, 82: ate.
=ȝeue=, III, 13, 12, 14: give. ȝouyn, 14: given.
=ȝone=, I, 327, 11, 12; 328, 38-44; III, 13, 1: yon.
=ȝowe=, I, 328, 53: you.
H
=ha=, =hae=, =hay=, I, 299, 7, 9, 11; 330, =A= 6, =B= 6; 331, =C= 3, 6;
=D= 6; 332, =F= 5; II, 74, =E= 6; 145, 27; V, 215, 9; 219, 20, 21; 221,
16, 22: have. See =haed=, =haet=.
=ha=, hall, I, 101, 14; 133, =M= 1; II, 371, 8; 387, 13; IV, 84, 5; V,
209 a, the last 2: house, manor-house. hall, IV, 513 b, 1, 2; V, 247,
1, 2, must be hold, as in other versions; but in IV, 514, 15, 16, would
be house, unless an error for _hale_, whole.
=haad=, _v._, II, 338, =R= 11: hold. See =hand=.
=hachebord=, =hatchbord=, III, 340, 36; 342, 70: would most naturally
be interpreted gunwale, or side of the ship, and so archborde, 340,
23. But in 36 Sir Andrew lies at the hache-bord (which is hached with
gold), and stern would be a better meaning for hachebord in that place,
the high stern of the old ship being a conspicuous place for a captain
to lie. See =archborde=. Barton lies a larborde in the York copy, IV,
504, 38, which is quite loose.
=hached=, the hache-bord is hached with gold, III, 340, 36: gilt
(possibly inlaid).
=haches=, =hatches=, III, 341, 54, 57: deck, properly a frame of
crossbars laid over an opening in a ship’s deck. (Skeat.)
=had=, _ellipsis of_, V, 274, 10, [had] rather [have] wedded, and
[have] tralled, I [had] rader.
=had=, =haad===hold. See =haud=.
=hadden=, _p. p._, I, 402, 4, 6: held.
=hadno=, had not.
=hads=, hads slaine, III, 358, 61: the s in hads is perhaps caught from
slaine. Other readings are had, hadeste.
=hae=, have. See =ha=.
=hae=, II, 97, 18: correct to _has_; cf. drees, 17.
=haed=, II, 110, 33: had.
=haely.= See =haly=.
=haet=, =hayt=, =haȝt=, I, 415 b; III, 109, 5; 110, 20; 111, 41; 113,
78: hath.
=hafe-gate.= See =half-gate=.
=hagg-worm=, II, 503: a monstrous snake.
=haghty=, V, 219, 21: haughty.
=ha-house=, manor-house.
=haik ye up=, IV, 219, 13: keep you in suspense (from hake, a frame on
which fish are hung to be dried?), or, haik, to drag up and down to
little purpose (Jamieson), “bear in hand,” delude with false hopes?
=hail=, III, 163, 77: whole, wholly. See =hale=.
=hail=, II, 151, =H= 1; 256, =K= 5: conceal. See =heal=.
=hailing= (Old Eng. halen==Germ. ziehen, draw, move), denoting rapid
motion, driving, rushing. wind come hailing, II, 22, 9. ship come
hailing, IV, 402, 15, 25. went hailing to the door, hailing ben the
floor, hailing through the closs, IV, 422 f, 11, 15, 18; V, 279 a, No
257, 11. Of tears and blood falling fast, tears came hailing down, II,
407, 14; drops o blude came hailing to the groun, II, 418, 31. See
=halling=.
=hailing at the ba’=, II, 269, 8: playing foot-ball. Hail the ba is
specifically drive the ball to or beyond goal.
=haill.= See =hale=.
=hailsed=, I, 333, 2: greeted.
=hain=, II, 92, 17, strong participle of have (haven), wald hain==would
(have) had.
=haind grass=, II, 465, 7 (spared, preserved): grass kept from cutting
or pasturing.
=hair=, hire.
=haisling=, IV, 46, =B= 9, come haisling to the town; cf. =hailing=,
proceeding. (Perhaps miswritten; Hill Burton’s hand is not always
careful.)
=halch=, =halch vpon=, I, 294, 18, 20; III, 419 f., 7, 37: salute,
bestow a salutation on.
=hald.= See =hauld=, hold.
=hale=, =haill=, =hail=, =haylle=, =hell=, II, 28, 23; 80, 15; III,
296, 23; IV, 379, 11; 380, 20; 381, 8; 382, 13; V, 276, 14, 15: whole,
in sound condition. III, 163, 77; 299, 3: wholly.
=Haleigh=, as he was walking the Haleigh throw, I, 76, =E= 6: ha-lee,
the lea of the hall?
=halfendell=, III, 75, 382: the half part.
=half-gate=, =hafe-gate=, II, 313, 14, 16: half-way.
=halke=, III, 74, 366: corner, hiding-place.
=hall=, house, manor-house. See =ha=.
=hall=, either in archbord or in hall, he wold ouercome you, III, 340,
29: hull?
=hall=, hold. See =hauld=.
=hall=, IV, 514, 15, 16: perhaps written for hale; in any case meaning
whole.
=hallan=, V, 99, 2: in cottages a wall between the fireplace and the
door, to shelter from the air (extending only as far as is thought
requisite for that purpose).
=halld.= See =hauld=.
=hallë=, V, 236, 23: hollo! or, perhaps, simply halle==hail.
=halled=, V, 270, 11: hailed, saluted.
=halleen=, V, 197, 9: holly. See =hollen=.
=halling=, come halling to the town, V, 277 f., 15, 25. See =hailing=.
=hallow=, =haly=, II, 175, 16; 239, 1: holy.
=hallow=, good hallow, II, 270, 10: a form of salutation; perhaps, God
hallow, sanctify, cleanse us from sin! perhaps simply an elliptical
Good saint! I have not met the phrase elsewhere, and it seems no longer
to be familiar in Scotland.
=Hallowday=, I, 342, 25; 507, 1; III, 246, =E= 1: saints’ day, All
Saints.
=hallow seat=, I, 367, 7: a saint’s place.
=hals-bane=, =hass-bane=, =hause-bane=, =hase-bane=, I, 394, 8:
neck-bone.
=halse=, I, 327, 10: neck. See =hause=.
=haly=, =haely=, =hallow=, II, 104, 22; 175, 16; 179, 13; 239, 1; 417,
13; III, 262, 5: holy.
=halycon=, come halycon to the town, III, 434, =E= 3: in a rollicking,
or a boisterous, turbulent way. North Eng. hallacking, making merry;
Scottish hallach, hallokit, crazy.
=halyde=, hauled.
=hame=, bring hame, bear a child. See =bring=.
=hame=, =home=, came, IV, 405, 54; 420, 5: was born.
=hame=, gae hame, III, 398, =A c= after 3: that is, to the heaven where
you belong. seek your lover hame, IV, 174, 11: go for and bring.
=hame-gaun=, I, 72 f., 11, 66: home-going (to go home),
=hamesucken=, IV, 244 b: invasion of a private house.
=hand=, att hand of, III, 278, 30: nearly, about; cf. Old Eng.
nearhand. (stroke) behind his hand, II, 63, 24: seems to be intended
for backhanded.
=hand for hand=, III, 465, 34; 466, 48: in a fair match? (hand to hand,
468, 48.)
=hand=, lokyde at his hand, III, 307, 10: probably, shading his eyes
with his hand; possibly, looked aside. Cf. lookit aneath (below) the
sun, III, 5, =D= 7; 6, 6; 8, 6.
=hand=, on the upper, II, 245, 29: side, uppermost (see II, 247, 32;
254, 22).
=hand=, out of, III, 440, 25: forthwith? (The line seems to be
corrupted; without resource, unable to help themselves, _hors de
combat_, would give an easier sense if allowable.) Should we read: as
many as was, out of hand?
=hand-write=, III, 455, 8, 9, 11; V, 300, 10, 16, 19: handwriting.
=hang=, _pret._ of hing, to hang, I, 327, 23 (hange); 448, 5; 451, 9;
II, 154, 11; 172, 34; IV, 465, 38.
=hang down=, III, 483, =D= 9: unintelligible to me, whether hang or
gang. ding down? (drown my mare and thee, III, 492, 26; 493, 15.)
=hanging well=, III, 440, 17: draw-well of which the bucket is raised
and lowered by a pole or beam turning on an upright post? By some
understood as, a well near the place of execution.
=hankit=, I, 224, =J= 2, 8: tied tight.
=hansell=, haffe hansell for the mare, III, 111, 32: have a present,
the more you buy? have the first purchase (which was thought lucky)
for the larger part (of the ware)? (Doubtful.) III, 284, 10: reward.
V, 112, =B b= 9: used in Galloway of a piece of bread given before
breakfast (Jamieson); here apparently of a draught of ale given early
in the morning.
=hantle=, II, 337, 11: a large number.
=hap=, =happing=, cover, coverlet: IV, 65, 7; 258 f., 5, 20.
=hap=, _v._, I, 15, 18; 299, 5; IV, 233, 2: cover, wrap.
=hap=, _v._, IV, 483 b, after 12: hop.
=happer=, hopper.
=happing.= See =hap=.
=harbengers=, III, 198, 2: harbingers, officers who preceded the king
in a progress to provide accommodation for the court.
=harl=, harl her thro the lin, I, 303, =D= 4: drag. See =haurld=.
=harme=, III, 357, 50: sorrow.
=harnessed= (men), III, 62, 133: equipped.
=harns=, V, 201, note ‡: brains, harn-pan, brain-pan, skull.
=harried=, =haryed=, _pret._ and _p. p._, III, 295, 4, 6; 296, 12; IV,
6, 9, 14, etc.; V, 250, 9, 13: plundered. See =herry=.
=harte of= =gre=(=e=)=ce=, III, 27, 105; 124, 3, 4: a fat hart.
=hartinge=, IV, 504, 31: encouragement.
=hart-roote=, II, 241, 27: (Icel. hjarta-rœtr, _pl._, Old Eng. heorte
rotes, heart-roots, -strings) term of affection.
=has be=, I, 86, 24: as if for future (see =s=, =us=, etc.); but
_shall_ in 7, 16, and _sall_ in =b=.
=hase=, halls.
=hase=, =hass=, neck, throat. See =hause=.
=hase-bane=, =hass-bane=. See =hause-bane=.
=hast=, V, 78, 12: am in haste (as well as þow hast, hastest).
=hastëly=, =hastilye=, III, 74, 376; 75, 392; 405, 20: immediately,
soon, promptly.
=hat=, _pret._ of hit, I, 299, 5; III, 350, 50.
=hatches===deck: III, 335 b; IV, 505, 57. See =haches=.
=hather=, III, 424 b; 425 a: heather.
=haud=, =had=, =hawd=, =haad=, =howd=, I, 21 b, 3, 4; 74, 75; 341, 12;
354, 17; 421, 4, 8, 11; II, 70, 17; 74, =D= 7; 463, 24, 25; III, 491,
9; V, 296, 1, etc.; 304 b, 3: hold, keep. _pret._ had, II, 371, 7. _p.
p._ hadden, I, 402, 6; hauden, II, 161, 7.
=haud me unthought lang=, IV, 260, 10: keep me without the time seeming
long, interested, entertained.
=haugh=, low ground, properly on the border of a river: III, 9, =G=
10; 483, 5; IV, 3, 17; 77, 3; 273, =C= 7; V, 250, 20, 21.
=hauld=, =hald=, =halld=, =hall=, =hold=, III, 281, 1; 371, 33; 433, 1,
2; 434, 1, 2; 436, 1; IV, 513 b, 1, 2; V, 247, 1, 2: place of shelter,
stronghold, quarters. See =hold=.
=hauld=, I, 359, 9, gang by the: walk by taking hold of things. gang by
haulds, III, 162, 46.
=hauping=, II, 463, 16: hopping, hobbling.
=haurld===harld, V, 99, =C= 5: dragged.
=hause=, =hase=, =hass=, =halse=, I, 149, =H= 1; 327, 10; II, 165, 22;
319, 3; 366, 38; III, 163, 75; V, 184, 44: neck, throat.
=hause-bane=, =hase-bane=, =hass-bane=, =hals-bane=, I, 394, 8; 395,
=B= 3; II, 146, 14; 147, 15; IV, 165, 15; 447 b, after 13; 448 a, 2d
stanza; V, 204 b: neck-bone.
=have=, _ellipsis of_. would been, I, 169, 7. I wad taen, I, 356, 54,
55. shuld I slain, II, 169, 7. ye widna kept, III, 390, 10. I woud not
swum, III, 489, 42. I should, might, enjoyd, IV, 135, 23; 137, 32. he
woud guarded me, IV, 148, 55. they taen, IV, 221, =D= 7. as muckle as
wald bocht, IV, 386, 18. I seen’t, IV, 465, 31. euer I seene, V, 53,
105. seem[d] to worn, V, 55, 26. he’ll learned, V, 196, 53. had rather
lost, V, 302, 17.
=have===proceed, go. have in (to water), have over, III, 128, 76, 77.
=have===provide or procure that a thing is done. hae me hame, II, 82,
54; hae me to the town, II, 122 f., 4, 28: take.
=have in=, had him in, II, 216, 8: had him in my possession (Germ.
innehaben)?
=have= (on the skynne), III, 127, 60: get a blow.
=haw=, green haw sea, II, 28, 21; IV, 379, 10, 14; 380, 19: bluish.
“azure; pale, wan;” Jamieson. (A. S. hæwen, glaucus, caeruleus. Old
Eng. hawe, haa.) green raw sea, II, 30, 6, is a corruption; I have been
lately informed that the singer ordinarily gave haw. In haw bayberry
kame, IV, 471 f., 2, 4, there is again corruption; as in the same
passage of other versions.
=hawd.= See =haud=.
=hay=, II, 160, 18: for hae, has.
=hay=, went forth to view the hay, IV, 233, 1; 238, 1: to see how the
hay was coming on, as a way of taking the air.
=hay=, IV, 225, 15; V, 261 a, No 221, =G= 22; hays, 16: in Maidment’s
text, _lea_, _leas_, probably right, hays making no reasonable sense.
=haylle=, III, 296, 23: whole, entire. See =hale=.
=hayt=, =haȝt=, I, 415 b; III, 109, 5; 111, 41; 113, 78: hath. See
=haet=.
=he=, =him=, =she=, =her=, with proper names (almost always him, her):
like Icelandic hann, hón (hún) (“so frequent in modern conversational
usage that a person is scarcely ever named without the pronoun,”
Vigfusson.) out and spak he Sweet Willie, II, 108, 19; 185, 33. sighing
said he Love Robbie, 370, 8. up and raise he Sweet Willie, 108, 15. up
and raise he the bridegroom, 108, 13. up and stands she Fair Annie,
189, 32. whare it is him Sir Colin, 61, 1; so 147, 16. out it speaks
him Young Bondwell, I, 479, 41; so II, 418, 25; 419, 37, 53. sighing
says him Brown Robyn, II, 371, 8, 9. leugh him Childe Vyet, 134, 21.
out it spake her Dow Isbel, II, 97, 21; so 418, 34. out spoke her Lady
Frendraught, IV, 44, 12. out waked her May Meggie, 188, 14. it was her
May Catheren, II, 145, 25. sighan says her Susë Pay, V, 219, 17. Etc.,
etc. Cf. Chaucer in, he Iakke Straw, he Theodomar, he Pluto,==perhaps,
ille; but not, him Arcite, Knight’s Tale, 352, 475.) with the objective
case: as, sought her Lady Maisry, II, 114, 3, 4, 10; 154, 11, 24, 26,
27; 370, 18; etc. (Him, her, with verbs of motion may possibly be a
relic of the old use of a dative, and such cases are not included.)
=he=, I, 242, 12; III, 13, 4, 8: they.
=he=, =hee=, III, 307, 4: high.
=header=, heather.
=heal=, =healle=, =hail=, I, 453, 9; II, 145, 26; 146, 9, 10; 154, 13,
14; 155, 37: conceal.
=healy=, =hooly=, _adj._, gentle.
=healy=, =heely=, =hooly=, slowly, gently: II, 94, 15; 110, 22, 23.
=heans=, hens.
=heard=, V, 253 f., No 203, =D= 2, 8: hired.
=hearten=, IV, 444, 32: encourage.
=heathen= (child), II, 246, 13: unbaptized.
=heathennest=, I, 284, 15: heathendom.
=heather-cow=(=e=), I, 302, =A= 9; 304, =E= 8, =F= 8; 305, 14; V, 173,
8; 174, =C= 2; 213, 8; heather-crow, I, 301, note *: tuft or twig of
heather.
=heather-knaps=, V, 173, 8: heather hillocks, knolls.
=hech and how=, III, 392, 13: to utter these interjections of grief.
=heckle=, IV, 247, 12; 248, 17: hackle, flax-comb (board set with sharp
steel spikes).
=hecks=, IV, 319, =I=, 5: racks.
=hee.= See =he=.
=heely=, II, 220, 21: slowly. See =healy=.
=heer=, =heir=, =heire=, I, 301, 3; 303, =C= 3; 304, =E= 2: the sixth
part of a hank of yarn, 240 threads.
=hegehen=, I, 333, 3: eyen, eyes.
=heght=, IV, 179, =A= 1: promised.
=heigh a ween=, =and Oh a ween!= interjections of grief, II, 504, 27. a
ween is probably I ween.
=height=, =heihte=, =hight=, =hith=, =heiste=, =hette=, I, 244, 10; IV,
503, 11, 14; V, 288, 18: was, is, called.
=heir=, =heire=. See =heer=.
=heiste.= See =height=.
=hele====heal=, conceal.
=hell===whole, staunch, tight, V, 276, 14, 15. See =hale=.
=hell=, heel.
=helt=, IV, 457, 22: _pret._ of hile: hailed.
=heme=, III, 434, 27, 28: home.
=hempten=, V, 87, 11: hempen.
=hend=, =hendë=, =heynd=, =hind=, =hindy=, III, 57, 25: noble,
gracious. lady hende, of the Virgin, III, 68, 251. hend soldan, II, 59,
36, 37: noble, of rank. III, 110, 27; V, 49, 12: friendly, kindly. I,
71, 41(?); 329, 57: fine-looking. III, 98, 41: civil. See =hind=.
=hende=, I, 71, 41 (gallant hende): hind, young fellow? The adjective,
of noble rank, courteous, kindly, is less likely.
=hent=, III, 110, 14; 123, 8, 10: caught, took.
=hepe=, III, 66, 204: hip (as II, 273, 35), berry of the wild rose.
=herbere=, I, 327, 32: garden.
=herkeneth=, =herkens=, _imperative plural_, III, 81, 317; 109, 2.
=herowed=, herowed hell, III, 25, 63: harried, despoiled. See
=harried=, =herry=.
=herry=, II, 261, 7; III, 473, 23; IV, 26, 2: harry, pillage, rob. See
=harried=.
=hersed=, V, 156, 15: rehearsed, repeated praise of?
=hership=, IV, 41, note *: plundering.
=he se=. See =-s= as sign of future.
=het=, eat.
=het=, hot.
=hethyn=_e_, I, 329, _58_: hence.
=hett=, I, 271, 5: bid.
=hette=, I, 224, 10: is called. See =height=.
=heuch=, =heugh=, I, 312, 13; II, 503 f., 11, 15, 28; IV, 231, =I= 15:
steep hill or bank, glen with steep overhanging sides.
=heved=, I, 243, 7; III, 70, 290 (?): head.
=hewen=_e_, V, 283, 15: heaven.
=hey=, I, 438, =B= 1: interjection of pleasure, displeasure, pain,
excitation. (Not the dance which is called the hay.)
=heye=, III, 482, 21: hie.
=heyer=, =hyer=, _compar._, V, 283, 5, 15: higher.
=heynd=, III, 110, 27: friendly, kindly. See =hend=, =hind=.
=heyng=, _pret._ of hang, V, 78, 4.
=heyt war howte!= III, 111, 28: heyt! is a well-known call to horses,
as in Chaucer (get up!), and war-oute is a term used in driving,
according to Halliwell’s Dictionary.
=hi=, I hi, III, 349, 46: have. I hinna, II, 469, 28: have not.
=hich=, high.
=hide=, II, 467, 44, 50: should probably be heed, as written by
Motherwell.
=hie=, =hye=, _n._, I, 328, 37; II, 164, 9, 12; III, 99, 50: haste.
=hie=, she smiled hie, V, 51, 55: with a smile not confined to her
mouth, but mounting higher.
=hiean=, II, 147, 2: hying.
=hiesed=, IV, 424, =b= 7, 8: hoised, lifted, dragged.
=high-gate=, V, 239, =O= 4: high-road.
=highman=, I, 203, =C= 16, 17. In =a= 16, the reading is hymen, which
is in itself plausible, but not ballad-like. If highman is right,
the meaning would seem to be, the chief man of the occasion, the
bride-groom.
=hight=, III, 441, 30: is, was, called. See =height=.
=hight=, III, 309, 34: I promise. _pret._ heght, hight, III, 407, 17.
=hile=, _v._, IV, 456, 17: hail. _pret._ helt, 457, 22.
=hill-gate=, IV, 249, =F= 4: hill-road.
=hilt=, V, 76, 21: flayed.
=him.= him, hym come, I, 244, 10, 13, 17; up stod him, 15, 16: dative
of subject after verb of motion. stert hym, III, 62, 120. wente hym,
III, 62, 126. rade him, IV, 2, 5. ar the coc him crowe, I, 244, 18.
=hin-chill=, V, 278, 33. See =hind-chiel=.
=hinchman=, III, 320, =A b= 16: henchman, servant (man who stands at
the hinch, haunch).
=hind=, =hinde=, =hindy=, =hynde=, _adj._, courteous, gracious, gentle,
kindly: I, 430, 5, 9; II, 177 f., 20, 35; III, 310, 52; 358, 69. See
=hend=.
=hind=, =hynde=, _n._ (A. S. hína, O. Eng. hine, servant), youth,
chiel, callant, seems often to be used as an epithet==young (but this
may possibly be hind==kindly courteous, etc., in some cases). Hynde
Etin, I, 369 f., 3, 5, etc. (called Young Akin in =A= 367, 6, etc.,
Young Hastings the groom in =C=, 371, 3). Hind Henry, II, 305 f., 6,
18, etc.; Hynde Henry, II, 306 f., 6, 8, etc. hind-chiel, hin-chill,
hynd-chiel, I, 367, 3; II, 83, after 38; IV, 432, 15; V, 278, 33.
hind-greeme, I, 69, 51. hind-squire, I, 452, =C= 10; 453, 7; hynde
squire, V, 25 f., 2, 13, 19, etc. hine-squar, V, 278, 29 (called young
squar in 18). In all three, both parts signify young fellow.
=hind=, gane hind away, II, 248, 5==hyne away, far away.
=hindy.= See =hind=.
=hing=, II, 194, 22, 27; 239, 6; III, 299, 6; V, 226, 4: hang. _pret._
hang, hanget. _p. p._ hanged, hangit.
=hingers=, V, 40, 4: hangings.
=hinna=, I hinna will, II, 469, 28: I have not will, I wish it may not.
=hinnie=, =hinny=, =honey=, IV, 66, 15; 69, 15; 70, 12; 72, =I= 5: term
of affection.
=hinnie-mark=, =honey-mark=, IV, 479, 7: mole? (cf. Germ. honigflecken,
yellow spot.)
=hinny-drap=, II, 283, 5: mole?==hinnie-mark.
=hire=, a yearl’s hire, II, 191, 20: rent, revenue.
=hirewoman=, IV, 202, =J= 3: female servant. hired your han, IV, 240,
14, if right, must mean, she would have paid you to do it. Other
copies, kissed.
=hirn=, I, 334, 9: corner.
=hirpling=, II, 474, 8; 476, 3: halting.
=hisn=, V, 293, 14: his.
=hith=, I, 334, 7: hight, am called. See =height=.
=ho=, who.
=hochis=, III, 306 =b=, note *: hocks.
=hoe=, IV, 19, 7: (as a singular of hose) stocking.
=hoes=, IV, 486, 7, 8: as plural of hoe (?).
=hog=, II, 258, 32; IV, 325, 6, 7; 328, 3, 4; 332, 13; 469, 10, 12:
young sheep that has not yet lost a fleece.
=hog-rubber=, IV, 208 =a=: (seemingly) a fellow employed to rub down
hogs, or fit for such business.
=hoised=, =hoisd=, =hoist=, I, 206 f., 9, 11; IV, 248, 2, 5; V, 132, 7,
_pret._ of hoise, heave, lift, drag.
=hoky-gren= (burnt like), II, 145, =A= 27: hoakie, “a fire that has
been covered up with cinders, when all the fuel has become red.”
Jamieson. A branch or stem in such a fire? or good to make such a fire
with? Scott has, hollins grene.
=hold=, =holde=, =hauld=, II, 216 f., 4, 27, 29; III, 358, 74; 430, 1;
435, 1: housing, quarters, place of shelter, lodging. thirty horsses
in one hold, II, 444, 59: perhaps place of keeping (450, 64, in one
close). See =hauld=.
=hold=, =holde=, _v._, III, 97, 11; 176, 5, 6: wager.
=holde=, III, 61, 93, 107: retain (legally).
=hole-house=, I, 305, 3; V, 213, 3: said in depreciation of an humble
sort of house (hole of a house), as a divot-house, a turf-cottage.
(Still in use. W. Walker.)
=hollan=, =hollin=, holland, linen.
=Hollan=, =Hollans=, boats, I, 467, 18, 22: Dutch boats. Dutch
fishing-luggers are to be seen in great numbers on the Scottish coast
in summer.
=hollan=, =holland=, of holly, hollan dyke, II, 195, 32: wall planted
on the top with holly.
=hollen=, =hollin=, I, 294 f., 15, 27; II, 153, 29; V, 191 f., 3, 18:
holly. (Perhaps hollin’s, V, 194, 2, should be hollins.)
=hollie=, V, 111, 16: (slowly) softly. See =hooly=.
=hollin=, holland.
=holm=, =holme=, =houm=, =howm=, III, 460, 38; 488 f., 31, 34, 41; IV,
522, 4, 10: low ground on a river-bank.
=holpe=, _pret._ of help, III, 342, 76. See =hope=.
=holtes=, III, 296, 14; 357, 53: woods.
=holydame=, by my, III, 209, 7: halidom. Originally halidom in oaths
meant reliques of saints; my halidom seems to be used in the sense of
sacred oath. (Printed _holy dame_ in three copies, and very likely
often so understood.)
=hom=, V, 304 b, 2, 4: home.
=hom=, III, 308, 26: them.
=home=, =hame=, came, IV, 405, 54; 420, 5; was born. See =bring hame=.
=hondert=, =hondreth=, =hondrith=, hundred.
=honey=, term of endearment. See =hinny=.
=honey-mark=, II, 282, 12: mole? See =hinnie-mark=, =hinny-drap=.
=honey month=, she has turned the honey month about, to see if he was
coming, IV, 320, =J= 2: inexplicable.
=hongyr=, V, 283, 16: hunger.
=honour’s gate=, II, 163, 21: (honour, a manor, the mansion-house of a
manor) an imposing gate, such as would be put at the principal entrance
to a mansion-house. W. Macmath.
=hooding.= See =huddin=.
=hook=, IV, 19 f., =C= 3, 8: loop.
=hook-tooth=, I, 18, =F= 9: tooth of a sickle with serrated edge.
=hooly=, _adj._, II, 107, 9: slow, gentle.
=hooly=, =hoolie=, =hollie=, =huly=, _adv._, slowly, softly: I, 451,
12; II, 108, 10; 111, 10; III, 393, 14. See =healy=.
=hope=, =houp=, IV, 25, 4; 27, 12; 184, 2, 3: “a deep and pretty wide
glen among hills.” Jamieson.
=hope=, _pret._, V, 103, =A c= 14: holp, helped. See =holpe=.
=hope=, I, 327, 12; 449, 17; II, 311, 6; V, 54, 3: expect, think.
=hore=, =hoar=, gray, grenë wode hore, holtes hore, III, 65, 176; 357,
53: gray as to trunks.
=horne and lease=, III, 360, 113. See =Pegge=, Archæologia, III, 1,
1775, “Of the horn as a charter or instrument of conveyance.” Professor
Gross, of Harvard College, has favored me with the following case: “Pro
quo officio [_i. e._ coroner and escheator of the Honor of Tutbury]
nullas evidentias, carta vel alia scripta, proferre possit nisi tantum
cornu venatorium.” The possession of this horn still conveys the right
to hold the office. Cf. J. C. Cox, Three Centuries of Derbyshire
Annals, London, 1890, I, 73-79.
=horse-brat=, I, 302, =B= 10: horse-cloth (horse’s sheet, horse-sheet,
of =A= 13, =F= 4).
=hose=, I, 285, 38: embrace, hug (halse, Scottish hawse).
=hosen=, =hose=, III, 65, 193: stockings (not breeches; see 196).
=hosens=, IV, 257, 3: stockings without feet.
=hostage=, III, 271, =F= 10; hostage-house, 4, 5, 8, 9: inn.
=hosteler-ha=, III, 270, =E= 3, 4, 5, 7: inn.
=hostess-house= (==hostage-house), IV, 175, =N= 4: inn.
=hostler=, III, 266 f., 4, 6, 9, 10; V, 153 f., =A= 3, 4, =B= 3-5; 156
b, =B=: innkeeper.
=hostler-wife=, IV, 508 1; V, 154, 3: woman keeping an inn.
=houk=, V, 218, 5: dig. _Pret._ and _p. p._ houked, houket, houkit,
howket, etc., I, 184, 9; 220, =A= 2, =B= 4, =C= 4; 221 f., =E= 7, 17;
III, 500 b, 8; IV, 451 a, 3, 5; V, 210, 9.
=houl=, III, 247, 5: hold.
=houm=, =howm=, =holm=, I, 394, 14; III, 370, 5; IV, 168, =E= 2, 5, 7,
8, 11, 12; 523, 3, 5: level low ground on a river-bank.
=hound=, IV, 19, 4; 20, 9: chase, drive.
=houp=, =hope=, IV, 2, 13: (A. S. hóp) sloping hollow between two hills.
=hour=, whore.
=house=, V, 273, No 237, 20: hose.
=housen=, II, 3, 10; 5 b, 2: house (_sing._).
=house-end=, =-en=, I, 254, =b= 1, =c= 1: gable.
=housle=, =houzle=, II, 46, 46; III, 330, 13: give the sacrament.
=houzle=, III, 105, 22, 23: communion.
=hove=, hove hole, I, 304, =F= 2: a hole which one haunts or lives in.
=hoved=, III, 296, 20: hung about, tarried.
=hoved on=, III, 358, 69: moved on (hied, 362, 69).
=hoves=, V, 227, 4: hoofs.
=how=, how soon, III, 450 a: so soon as.
=how=, =howe=, _n._, III, 164, =b= 49; 316 a, last line; IV, 110, 10;
303, 7: hollow, sometimes, plain.
=how=, _adj._, IV, 476 a, 4: hollow.
=how=, III, 392, 11, 13 (_as verb_): exclamation of grief.
=howbeit=, III, 450 a: although.
=howd=, hold. See =haud=.
=howded=, V, 124, =C= 15: swung.
=howk=, =howked=, etc. See =houk=.
=howm.= See =houm=.
=howre=, V, 78, 5, 6; 79, 28, 33, 35; 80, 37: our.
=howther o dirt=, II, 184, 13: a mass of dirt.
=howyn=, own.
=hoyse=, =hoise=, II, 26, 8: hoist.
=huddin=, =hooding= (hud, hod, to hide), IV, 262, 30; 266, 15:
covering, coverlet.
=huddle=, II, 246, =B= 7: (hide) cover, protect (Scot. hiddle, hide).
=huggar=, I, 303, =D= 5: stocking without a foot.
=huggell=, II, 244, 16: hug, or, perhaps, a variety of huddle.
=huly=, =hooly=, =healy=, II, 168, =B= 4; 169, 12; 216, 2; IV, 413, 18;
436, 8: slowly, softly.
=humming=, III, 136, 30: heady, strong, as causing a hum in the head.
=hunder=, =hundre=, =hunner=, =huner=, =hundredth=, hundred.
=hunger=, =hungre=, _v._, II, 382, 4; 386, 4; 387, 2; 391, 2: starve.
=hunkers=, V, 213, 9==clunkers, clots of dirt.
=hunt’s ha=, I, 298, 2: hunting-house or lodge.
=husbande=, =husbonde=, III, 57, 13; 295, 1: farmer, husbandman. III,
58, 46: economist, manager.
=hussyfskap=, =husseyskep=, V, 98, =A= 3, =B= 3: housewifery (she was
making puddings). But perhaps, specifically, hussyskep, a sort of
basket or bin of straw, formerly used, especially in ruder districts,
for holding corn or meal. In like manner, a “platted hive of straw” is
called a bee-skep. G. F. Graham’s Songs of Scotland, III, 181.
=hy=, =hye=, =hyght=, on, vpon, III, 296, 9; 297, 31, 47, 48; 359, 91:
in a loud voice. on hy, hye, III, 309, 51; 297, 45: on high, up, erect.
on hyght, III, 297, 34: on high.
=hye=, =hie=, _n._, I, 328, 37; III, 99, 50: haste.
=hyer=, =heyer=, _compar._, V, 283, 5, 15: higher.
=hyf=, V, 283, 4: if.
=hyghte=, I, 328, _36_: promise, hyght, _p. p._, III, 297, 29:
promised; III, 77, 442: vowed.
=hym=, wente hym, stert hym, III, 62, 120, 126: dative of subject after
verb of motion. See =him=.
=hyndberry=, I, 177, =A c=: raspberry or brambleberry.
=hynd-chiel.= See =hind=.
=hynde=, _n._, III, 64, 164: fellow. hynde Henry, II, 306 f., 6, 8,
etc.; hynde squire, V, 25 f., 2, 13, 19, etc. See =hind=, _n._
=hynde=, _adj._, II, 177 f., 20, 35: gentle, or the like. See =hind=,
_adj._
=hyne=, II, 314, =C= 3: (up) behind.
=hyne=, II, 314, =C= 3: hence, away.
=hypped=, III, 77, 429: hopped.
I
(See also under =J=, =Y=.)
=I=, II, 59, 34; 160, 10-16; 264 f., 4, 18; III, 185 f., 3, 4, 15, 23;
203, 18; 287, 59; 356, 28: ay.
=i=, _abridgment of_ in, _passim_.
=i=, _abridgment of_ with: IV, 465, 23.
=i-bouht=, bought.
=ickles of ice=, III, 154 =f= 1: icicles.
=i-dyght=, =y-dyght=, III, 62, 131, 132: furnished, adjusted. III, 75,
392: made ready.
=if=, _apparent ellipsis of_, II, 62, 9, with honour that ye do return.
=i-fedred=, feathered.
=i-flawe=, III, 13, 6: flayed.
=ile=, =oil=. ’inted (anointed) bar with ashen ile, V, 305 =a=, 6: gave
her a beating with an ashen cudgel.
=ilk=, =ilke=, same. of that ilk, III, 451, note *: having a title the
same as the surname: as, Wemys of Wemys. in that ilke, I, 287, 72: in
that same; III, 105, 14: at that same moment.
=ilka=, I, 107, 7; 302, =A= 9, 11, 12; 474, 40: each, either. ilka ane,
ilkone, II, 185, 25; III, 97, 16: each one.
=ilkone.= See =ilka=.
=ill=, =ell=, =ull=, will.
=ill-bukled=, V, 276, 18: badly run down at the heel. See =baucheld=.
(Unless _ill_ be for _old_.)
=ill-far’d=, I, 342, 41: ill-favored.
=ill-fardly=, V, 115, 9: ill-favoredly, in an ugly way.
=ill-wordie=, V, 243, 15: unworthy.
=im=, am.
=impale=, V, 182, 5: make pale.
=imy=, I, 243, 7: in my.
=in=, IV, 464, 3; V, 277, 5, 9: an, and, if.
=in o===in (in some part of?), III, 495 b, 23, 24; IV, 19, 3; 517, 19.
=in one=, II, 186, 1; 187, 8; 196 =e= 1, 7; into ane, 184, 5, 8, 11,
18: anon, or, at once==in a single answer. In, riddle both of us into
ane, the intention was, perhaps, together, simultaneously; and so, all
in one, III, 4, 7; both as one, II, 187, 2.
=inbearing=, II, 28, 15: obtrusive, over-officious, inter-meddling
(with the object of thereby ingratiating oneself).
=infeft with=, =in=, I, 478, 5, 10; IV, 350, =B b=, 4, 5; V, 274, 6, 7;
convey (land, money) to, put in possession of. inheft (o), IV, 349, =B=
4, 5: mistakenly for _infeft_.
=in-fere=, together. See =fere=.
=ingle=, III, 484 a, 36; V, 45 1: fire.
=inheft=, IV, 349, =B= 4, 5, for _infeft_ =b=, to invest with a
possession in fee.
=inn=, =inne=, III, 117, 11; 118, 8; 200, 6, 7; 212, 5: lodging.
=i-nocked=, III, 62, 132: nocked, notched.
=inowe=, III, 57, 13; 58, 43: enough.
=instiled=, III, 227, 3: styled, intitled.
=’inted=, V, 305 a, 6: anointed. See =ile=.
=intil=, =intill=, I, 68, 28; 69, 36; 302, =A= 11, IV, 171, 1: into, in.
=into=, I, 70, 20; 71, 29; 127, 5; 440, 13-15; IV, 263, 35: in. into
his age, IV, 359, 12: at, of.
=into ane=, II, 184, 5, 8, 11, 18: anon, in a single answer, or
simultaneously. See =in one=.
=intoxicate=, _pret._, II, 47, 8: intoxicated.
=i-pyght=, III, 63, 136: put.
=ir=, are.
=irale= (stane, as the rhyme shows the reading should be), I, 326, 9:
an undetermined stone mentioned in romances.
=ire=, thro, II, 408, 17: seems to mean, as resenting the covering (not
ballad-like). wi ire, II, 411, 10, is sufficiently incongruous.
=irke= with, V, 15, 14: tired, weary of.
=is=, III, 440, 11: has.
=-is=, =-ys=, termination of 3d _pers. pres. indic._, he stendis louys:
III, 98, 22; 101, 88.
=I’se=, IV, 506, 68: I am.
=istow=, I, 175 f., 4, 10, 16: is thou, art thou.
=it= (==O. Eng. his), its. defile it nest, III, 445, 32.
=ith=, in the.
=’ith=, with.
=ither=, IV, 210 a; V, 306, 15: other. IV, 110, 9: one another.
=I wat=, =a wat=, =I wot=, =I wad===surely: I, 107, 1; 471, 11; and
very often. See a==I.
=I wis=, IV, 405, 1: probably to be taken as assuredly, since we have I
wot in that sense in 7.
=i-wis=, =i-wisse=, =i-wys=, II, 46, 43; 265 f., 9, 26; III, 27, 104;
277, 17; 359, 84: surely, indeed. As to _i-wis that_, III, 277, 18, 19,
it is to be remembered that a superfluous _that_ is common in the Percy
MS.
=I wist=, III, 187, 32: for iwis, indeed. Perhaps the Scottish I wat,
surely, has influenced the form.
=iyen=, =iyn=, III, 57, 23, 28; 59, 58: eyen, eyes.
J
=Jack=, IV, 112, 4; 113, 5: insolent fellow.
=iacke=, III, 342, 64: (here) coat of mail, cf. 58, 59, 60. soldans
iack, III, 422, 75. An ordinary soldier’s jack (III, 440, 18; 465 f.,
33, 42, 49; IV, 147, 41) consisted of two folds of stout canvas, or
some quilted material, with small pieces of metal enclosed. Fairholt.
Old Robin, II, 241, 21, puts a silke cote on his backe was thirteen
inches folde.
=jail-house=, V, 300, 16: jail.
=jamp=, _pret._ of jump, II, 121, 21: jumped.
=iapis=, III, 59, 63: japes, jests, waggery, trifling.
=jauel=, V, 81, 11: a term of abuse, good-for-nothing, idle fellow.
Prompt. Parvulorum, gerro. “He called the fellow ribbalde, villaine,
iauel, backbiter, sclaunderer, and the childe of perdition.” Utopia,
Arber, p. 53.
=jaw=, =jawe=, I, 127, 10; 128, 8; II, 21, 8; 24, 11; 29, 10-12: wave.
=jawing=, jawing wave, II, 223, =F= 7; IV, 472, 16: surging.
=jawing=, _n._, IV, 462, 24: surging.
=jee=, I, 389, 7; IV, 476, 5: move, stir.
=jelly= (jolly), I, 69, 51; 298, 2; 452, 10; II, 403, 5; IV, 413, 20:
handsome, pleasant, jovial. Jamieson: “upright, worthy, excellent in
its kind.”
=ietted=, III, 199, 19; V, 86, 30: moved in state or with pride.
=jimp=, =gimp=, =jump=, _adj._, I, 330, 8; 333, 6; II, 216, 18, 20;
217, 1, 3; 221, 1, 3; 225, =J= 1; IV, 212, 1; 272, 2: slender, slim.
=jimp=, _adv._, II, 74, =D= 3: tightly, so as to make slender.
=jo=, II, 103, 5: sweetheart.
=jobbing= (of faces), III, 219, 14: billing (like doves).
=jobbing at=, I, 104 b, 10: jogging. The at is difficult. The old
prefix means off, away, but is not separable.
=Jock Sheep=, =John Sheephead=, II, 480 a; IV, 290, 23: a man deficient
in virility (?). V, 206 a, 9: simpleton, of one who has been stultified
or outwitted.
=iollye=, III, 278, 32: should probably be iollytë. See enter plea.
=joukd=, V, 9, 12: bent forward. See =juks=.
=jow= (of bell), II, 277, =A= 8: stroke.
=juks=, V, 110, 5: bows, obeisances. See =joukd=.
=jule=, jewel.
=jully-flowers=, gilly-flowers.
=jumbling=, V, 102 =B= 13: mudding, fouling.
=jumly=, IV, 182, =F= 9: turbid.
=jump=, V, 267 b, 5: jimp, slender.
=jumpted=, IV, 519 a, 3: jumped.
=justle=, III, 280, 26: joust, tilt.
=justler=, III, 280, 31, 32: jouster, tilter.
=justling=, III, 279, 12, 14, 16: jousting.
K
=kail=, =kale=, colewort, made the baron like kail to a pot, IV, 86,
13: cut him up. broth made of greens, especially of coleworts: II, 467,
41; III, 300, 12; 388, 3; IV, 500, 13. See =kell=.
=kaily= lips, I, 302, =A= 10: covered with kail, and so repulsive.
=kaim=, =kame=, =keem=, comb.
=kaivle=, II, 298 f., 3, 19: lot. See =kavil=.
=kale=. See =kail=.
=kame=, =keem=, comb.
=kamen=, combing.
=kane=, I, 353, 15; 356, 56: tribute (originally a duty in the form of
a part of the produce, paid by an occupant of land to his superior).
=kauk=, V, 116, 10: chalk.
=kavil=, =kaivle=, =kevel=, =cavil=, I, 71, 36, 38: lot.
=kay=, =key=, kine.
=keach=, V, 123, 17: perturbation, shaking up.
=kean=, _v._, V, 110, 4: ken.
=kebars=, I, 332, =F= 6; II, 227 a: rafters.
=kebbuck=, IV, 323, 5: cheese.
=keckle-pin=, burnt like keckle-pin, II, 155, 38: that is, I suppose,
like heckle-pin, the sound of the _k_ being carried on from _like_. Mr
William Forbes, of Peterhead, suggests the following explanation: The
pins used to hold the straw raips which hold down the thatch on cob or
mud huts; being driven into the top of the walls close to the eaves,
they are always dry and ready to burn. The mass of interlaced straw is
called a hackle. Used all over East Aberdeenshire.
=keeked=, =keekit=, I, 303, =D= 1; 304, =E= 3: peeped.
=keel=, V, 116, 10: red chalk.
=keem=, =kem=, =kemb=, =kame=, comb.
=keen=, _v._, V, 238, 18; 278, 38: ken, know.
=keen=, armour, II, 62, 10: no sense except for arms of offense (as in
Old Eng.).
=keen= (of tying), II, 162, =D= 3: strong or hard.
=keen(e)=, II, 45, 26; 46, 39; V, 192 f., 27, 57: bold. spak sharp and
keene, III, 394, =K= 3: cuttingly, poignantly.
=keep=, catch. See =kep=.
=keep up=, V, 114, 12: keep under custody, safe from the hands of
others, lock up. See =kept up=.
=keep=(=e=) =with=, II, 411, 15; III, 36, 41: stay, live with.
=keepit= a bower, II, 407, 8: frequented, lived in.
=keepit=, IV, 215, =A= 2: heeded, observed.
=keist=, =kiest=, =kest=, =kyst=, _pret._ of cast, I, 69, 46; 241, 3.
=kell=, II, 264 f., 5, 12; 364, 30; V, 161, 7: a cap of network for
women’s hair.
=kell.= lang kell, V, 110, 9, 10. See =lang kell=.
=kelter=, kelter-coat, V, 54, 20: made of kelt, black and white wool
mixed and not dyed. Dillon, Fairholt’s Costume in England, where a
kelter-coat is cited from a will. Kelt, cloth with the knap, generally
of native black wool. Jamieson.
=keltit=, IV, 493, 5: kelted, tucked.
=kem=, =kemb=, comb.
=kemp=, =kempe=, =kempy=, I, 301, 1; 302, 6, =B= 1; 303, =C= 1, 9; 309,
3, 5; II, 53 f., 25, 31, 55; III, 447 a: champion, fighting-man (A. S.
cempa). kemp o the ship, V, 151 f., =F= 2, 4, is no doubt a corruption.
=kempery=(=e=), II, 54 f., 54, 66, 68: company of fighting men (or, if
adjective, fighting).
=kempy.= See =kemp=.
=ken=, I, 343, 42; 345, 41; 348, 21; III, 268, 4: know. III, 266, 4: to
make known.
=kene=, cawte and kene, III, 296, 26: wise, shrewd, or, perhaps, brave.
=kenna=, know not.
=kep=, =keep=, =cap=, =cape=, catch, stop, intercept: II, 322, 21;
325, 21; 407, 13; 413, 6, 8; III, 125, 34; 245, 2; 246, =E= 2; 436, 5,
7; IV, 480 f., 17, 18, 19; V, 230, 10, 11. she keppit him (received
him) on a penknife (as he leaned over to her), II, 147, 6. she keppit
Lamkin, II, 335, =M= 7; V, 230 b, =Y= 10: encountered. he kepped the
table, door, wi his knee, I, 476, =J= 5; 481, 42; II, 91, 26; 94,
18; 271, 17: took, struck. keppit, III, 246, =D= 2, is an obviously
wrong reading, and should be _kicked_; cf. 243, 2; 245, 2; 246, =E= 2.
kepd the stane wi her knee, II, 421, 29, is absurdly taken from other
ballads (and from ball-playing). _pret._ kept, kepd, kepped, kepit,
keppit. See =cap=.
=kepe=, I, 329, 2: care for, value. kepe I be, III, 100, 80: care I to
be.
=keping=, IV, 313, 20: meeting. The meaning is that he went to meet
(_come_ should be _came_) the body which was lying at the gates. There
was no procession towards him.
=kepping=, keeping.
=kept up=, IV, 287, 15: shut up. See =keep up=.
=kerches=, kerchiefs.
=kest=, =keste=, _pret._ of cast, III, 76 f., 421, 422. See =keist=.
=kettrin=, IV, 84, 8: cateran, Highland marauder. See =caterans=.
=kevel=, =kevil=, I, 74 f., 3, 36; 77, 4; 80, 4-6; II, 16, 2; 301, 1;
IV, 394, =C= 1: lot. See =kavil=.
=key=, kye.
=keys=, rang the keys, IV, 430, 2: keys of her spinnet.
=kickle=, III, 230, 59 (the actual reading): not easily managed,
unsteady, Scot, kittle. (But perhaps we should read _kick_, since a
verb would be expected.)
=kiest=, =keist=, _pret._ of cast, I, 74, 2; 75, 36; 80, 4; 351, 44;
IV, 32, 11.
=kilt=, IV, 257, 3: a skirt worn by Highlanders, reaching from the
belly to the knees.
=kilt=, =kelt=, tuck up: I, 341, 3, 17; 343 f., 3, 8, 16, 35; 369, 2;
II, 92, 7; 461, 5; 462, 5; 471, 4. _p. p._ kilt, II, 423, 8; IV, 210, 7.
=kin=, a’kin kind, II, 114, 2: a’kin, all kind, equivalent to every. na
kin thing, I, 394, 10.
=kin=, ken.
=kind=, =kindly=, II, 319, 7; III, 266 f., 1, 5, 21; 300, 26; IV, 501,
30: kindred, native. kindly cockward, I, 285, 24: natural, born, fool.
kindly rest, V, 124, =C= 14: natural.
=kine=, what kine a man, IV, 504, 27: kind (of).
=king’s felon=, =kynggis felon=, =kings ffelon=, III, 98, 21; 180, 16:
traitor, or rebel, to the king.
=kinnen=, III, 370, 4: coney, rabbit.
=kintra=, country.
=kipeng=, keeping.
=kipple=, I, 333, 5; IV, 432, 6: couple, rafter.
=kipple-roots=, I, 304, =F= 5: the ends of couples (rafters) that rest
on the top of the wall. “In rude erections the couples were rough
unhewn tree-stems, which were placed with their thickest, or root, ends
on the walls, the smaller ends abutting at the ridge of the roof.” J.
Aiken.
=kirking=, I, 371, 6, 12, 14: churching.
=kirk-shot=, IV, 359, 10: the fishings on the water where nets are
shot, belonging to, or adjacent to, the kirk.
=kirk-style=, I, 441, 8-10; 498, 16, 24; IV, 183, 9, 11; 360, 16: the
gate of the enclosure round a church, or, the stile in the church-yard
wall.
=kirk-toun=, II, 219, 13: village in which is a parish church.
=kirkyard=, V, 299, 4: churchyard.
=kirn=, _n._ and _v._, V, 115, 6: churn.
=kirtle=, =kirtell=, =kyrtell=, part of a man’s dress, perhaps
waistcoat: III, 65, 194; 71, 299. name given to a variety of articles
of female attire, explained as jacket, corsage or waist, upper
petticoat, a loose upper garment, tunic or short mantle, etc. dress of
silk worn under a gown, over a petticoat, I, 433, 9. gown, petticoat
and kirtle, III, 273, 14. kirtle and gown, III, 215, 10; IV, 432, 7, 8.
=kist=, chest, I, 15, =A= 3; =B= 3; 17, =D= 2; III, 189, 34; IV, 485,
19; V, 115, 5: coffin.
=kithe=, a, III, 93, 36: of kith, of the same country, region, people.
kith, kyth, and kin, II, 216, 6, 8; 252, 29; III, 93, 36.
=kitt=, V, 240, 14: outfit, supply.
=knabby=, IV, 262, 23: knobby, rough.
=knack fingers= (in sign of grief): IV, 418, 7; 435, 13; knak, V, 227,
5 (passage corrupted); knick, III, 455, =E= 1; knock, II, 312 f., 5, 6,
7: crack the finger-joints. (Elsewhere, wring, II, 315, =D= 7; 319, 17;
III, 477, 4.) ladies crackt their fingers, II, 26, =G= 16.
=knapped=, II, 134, 8, 13: knobbed, ornamented with balls or tassels.
See =naps=. golden-knobbed, II, 133, =D= 6. (knob, sometimes a tassel
to the cord of a mantle.)
=knapscap=, =napskape=, IV, 7, 35; V, 251, 31: head-piece.
=knaue=, III, 14, 16, 17; 60, 81; 94, 50; 127, 44 (play): servant. IV,
501, 37: person of servile or low rank.
=knave-bairn=, I, 350, 20; II, 418, 23: male child. knave-boy, V, 235
b, after 30.
=kneene=, III, 362, 87: knees.
=knell=, _v._, II, 189, 23: ring.
=knet=, _pret._ of knit, III, 431, 17; IV, 31, =B= 6: knitted, knotted.
=knicking fingers=, III, 455, =E=: making the finger-joints crack. See
=knack=.
=knight-bairn=, V, 236 f., 21, 28, 29: male child.
=knip-knap=, V, 213, 6: a knock, tap. V, 124, =C= 15: to express the
sound of cracking.
=knobbed.= See =knapped=.
=knock.= See =knack=.
=knocking-stane=, I, 304, 10: stone mortar.
=knoe.= See =know=.
=knop=, III, 138, 9: (knap), blow.
=knoppis=, knobs.
=know=(=e=), =knoe=, II, 308 b; III, 464, 5; 466, 38; IV, 171, 4; 193,
1; 195, 1; 201, 10; 205, 22: hillock.
=knowe-tap=, IV, 60, =C b= 6: top of a hill.
=kod=, =kuod=, quoth.
=koors=, I, 353, 15: turns.
=koupd.= See =couped=.
=kouthe=, II, 499 b: known.
=kow=, V, 157, 11, 12: twig. See =cow=.
=ky=, =kye=, =kyne=, III, 464, 6, 7; 465 f., 19, 62; IV, 7, 29-32; 84,
17, 18: cows.
=kyrtell.= See =kirtle=.
=kyst=, I, 241, 3: cast.
=kyth= (and kin), home, country, people. See =kithe=.
=kythe=, II, 168, 10: be manifest, appear, _pret._ kythed, I, 117, 10:
appeared.
L
=laa=, law.
=lachters=, =lauchters=, IV, 166, 14: locks.
=lack=, =lake=, _adj._=laigh, low, humble, in lack o luve, II, 376,
24, 27, 30. so lack a knight as bid her ride, II, 97, 10. thought
his father lack to sair, II, 408, 1 (lake, V, 235 b, 1; cf. thought
father’s service mean, II, 178, 2); V, 272 b, 8, 10: of mean position.
=lack=, =lake=, _n._ (think, hae, lack), reproach, discredit, IV,
15, 16; 518, 8. woman, lack o our kin, IV, 325, 13. had ye nae lack
(reproach or fault), IV, 281, 3. what other ladies would think lack,
II, 159, 22 (but here lack may=laigh, and mean _beneath them_, as in
II, 97, 10). tooke a lake, III, 419, 2: incurred a reproach or blame?
of his friends he had no lack, IV, 11, 18: corrupted from, of him his
friends they had no lack (or the like). See =lauch=.
=lad=, in =surgeon-lad=, IV, 484, after 25: man. lad nor lown, IV, 304,
8, 9: should probably read, laird.
=lad-bairn=, II, 299, 12, 21; III, 392, 7; 395, =L= 1, 5; IV, 510, =V=
3: boy.
=lad=, _pret._ of lead, III, 75, 388.
=lade=, led, taken.
=lader=, V, 265 b, 20: leather.
=laid=, III, 35, 15: laid a plan. laid about, III, 329, 1: invested.
=laid=, laid her bye, V, 169, 6: lay down by her.
=laidler=, II, 503 f., 10, 11, etc.: corruptly for laidley (as in 7).
=laidley=, =laily=, =laylë=, =layely=, etc. (A. S., láðlíc), I, 312,
8, 13; 348, 14, 20; II, 503 f., 7, 32, 35; V, 214 f., 2, 3, 5, etc.:
loathly, loathsome.
=laigh=, II, 188, 3; III, 384, 2; 397, =A b= 1; IV, 200, 9; 268, 21; V,
236, 11: low, mean. oer laigh, III, 480, 12: too low, too short. See
=lack=.
=laigh=, =leugh=, _n._, III, 162, 49: low ground. III, 489, 10: lower
part; so, leugh, 487, 6, 14, 16.
=laily=, =laylë=, =layly=, =layelly=, V, 214 f. See =laidley=.
=lain=, =laine=, =layne=, =leane=, =lene=, =len= (Icel. leyna), III,
332, 7; IV, 7 f., 30, 47; V, 250 f., 27, 40: conceal.
=lain=, alone. See =lane=.
=laine=, _p. p._, III, 401, 16: laid.
=lair=, =lear= (A. S., lár), II, 175, 16; 305, 15: instruction. unco
lair, to learn, get: II, 118, 1; 119, 1; 174, 1; 178, 2; III, 385, 1;
IV, 411, 1; unco lear, IV, 467, 1: strange lesson, applied to one who
is to have an extraordinary experience; cf. English lair, IV, 466, 1.
See =lear=.
=lair=, =lear=, II, 311, 1: lying-in.
=laird=, a landholder, under the degree of knight; the proprietor of a
house, or of more houses than one. Jamieson.
=lairy=, IV, 22, 10: miry, boggy.
=laith=, loath. See =leath=.
=lake=, _n._, III, 419, 2; V, 235 b, 1; 272 b, 8, 10. See =lack=.
=lake=, I, 254, 8: pit, cavity. See =laigh=, _n._
=lake=, V, 235 b, 1; 272, 8, 10=laigh, of mean position. See =lack=,
_adj._
=lake-wake=, =leak-wake=, =lyke-wake=, II, 311, 19: watching of a dead
body.
=lamar=, =lamer=, =lammer=, II, 131, 6; 323, 24; IV, 203, 5; 204, 14:
amber.
=lambes woole=, V, 85, 18: pulp of roasted apples mixed with ale.
=lammas beds=, II, =96=, =J= 4, in virtue leave your: corrupt. See
note, II, 100 b. Dr Davidson, correcting by sound, would read, never to
leave. For lammas beds we may perhaps read, families. Cf. 87, =B= 1,
that ye dinna leave your father’s house.
=lammer=, =lamer=, =lamar=, amber. See =lamar=.
=land=, V, 128, 29: country (opposed to town).
=land-lieutenant=, IV, 517, 17. lord lieutenant, III, 492 f., 7, 11,
17. lieutenant, III, 488, 32, 33, 35, 37. See next word.
=land-serg=(=e=)=ant=, III, 481, 33; 482, 27; IV, 2, 9, 14: officer of
the gendarmerie of the Borders, called land-lieutenant, IV, 517, 17.
=landart=, V, 106, =E= 1; 111, 1: belonging to the country, rural.
=landen=, II, 29, 17: landing.
=landen span=, III, 511, 16, 18: corrupted from London band, or the
like.
=landsman=, III, 489, 44: land owner.
=lane=, III, 357, 51: lane, as where poor men live? (Rhymed with aye,
and perhaps corrupt. 361, =C= 51, lawne.)
=lane=, =lain=, =leen=, =lean=, =lone=, =alane=, =alone=, annexed to
the dative or genitive of the personal pronoun (as in Old Eng. him ane,
hire ane), my, mine, thy, our, your, her, his, him, its: I alone, by
myself, etc. my lane, I, 79, 22. thy lane, IV, 197, 8. our lane, I,
72, 20. your lane, II, 69, 1. your lone, IV, 195, 16. her lane, lean,
I, 350, 10; IV, 456, 1. his lane, lean, IV, 227, 6; 345, 5. him lane,
leen, I, 368, 26, 28; II, 90, 18. their lane, I, 254, =C= 1. its lone,
I, 132, =J= 4; II, 308, 3. its leen, IV, 418, 1. it lane, II, 82, =J=;
307, 22; III, 388, 5. me ane, I, 333, 1. by my lane, I, 330, =B= 1.
mine alone, alane, I, 332, =E= 1, =F= 1; III, 489, 1. him alone, III,
159, 2; cf. IV, 464, 1.
=lane=, IV, 281, 2: misprint for bane.
=lang=, at lang, IV, 318, =F= 9: at length.
=lang kell=, V, 110, 9, 10: coleworts not cut up and mashed. “lang kail
[a tall-growing cabbage?] became extinct about 60 years ago, giving
place to finer-flavored varieties.” W. Forbes.
=langin=, she’s gane langin hame, IV, 198 a, 7: perhaps simply longing,
languishing; lingering would be more appropriate if the interpretation
were justifiable.
=lang-sought=, V, 35, =B= 5: been long (and fruitlessly) seeking for
some object (if the reading is right), indicating a hopeless passion.
=lap=, grip her in his lap, II, 325, 18: (possibly) embrace, clutch.
=lap=, =lappe=, III, 59, 70; 65, 194; 353, 12; 430 f., 15, 17: wrap,
roll.
=lap=, _pret._ of loup, leap, I, 330, =A= 5, 7, =B= 5; 331, =C= 5, 7;
III, 270, 1; V, 228, 16. lap him, III, 266, 2: the old construction of
dative of the subject after a verb of motion.
=lappen=, _p. p._ of loup, leap.
=lapperin=, III, 395, =L= 4; IV, 224, 23: clotting.
=lappin=, IV, 510, =V= 3: covering; probably corrupted from lapperin of
=L= 4, clotting.
=lard=, =leard=, V, 36, =B= 8, 9: laird.
=lass-bairn=, =lassie-bairn=, I, 350, 20; II, 301, 10, 11; IV, 418, 5:
girl.
=lat=, I, 310, 8; 351, 37: let.
=lat down=, III, 281, 2, 5, 6: give over, discontinue.
=late=, III, 164, b 51: let, hindrance.
=late=, _pret._ of let, allow, V, 256, 13.
=latten=, _p. p._ of let, II, 189, 26; IV, 493 f., 7, 28, 31 (left).
=lau=, low.
=lauch=, _n._, II, 20, 4; 385, 6; 390, 7; IV, 259, 9: laugh. IV, 327,
12: perhaps laughing-stock; but cf. lack, 325, 13, reproach.
=lauch=, =lawhe=, _v._, IV, 121, =G= 2; V, 80, 48: laugh. _pret._
laugh, laughe, leuch, leugh, luke, lough, low, lowe, lowhe, laucht,
lought.
=laucht=, _pret._ of laugh, II, 106, 14.
=lauchter=, IV, 385, 6: laugh.
=lauchters=, I, 74, 68, 72; 79, 25: locks.
=lauchty=, V, 213 a, No 33, 10: the reading in Sharpe’s Ballad Book
corresponding to tauchy, I, 302, =A= 10. In the copy of Sharpe used
(a presentation copy), a line is drawn through the l, indicating,
probably, the editor’s intention to emend to tauchty or tauchy.
=laue=, law.
=laugh=, =laughe=, _pret._ of laugh, II, 418, 34; 420, 59; III, 287, 59.
=launde=, =lawnde=, III, 27, 105; 33, 105: plain ground in a forest;
“a small park within a forest, enclosed in order to take the deer more
readily, or to produce fatter venison by confining them for a time.”
=launsgay=, III, 63, 134: a kind of lance, javelin (compound of lance
and the Arabic zagaye).
=lave=, =leve=, II, 78, 11; III, 495 b, 23, 24; IV, 220, 3; 428, 6;
517, 20: rest, remainder.
=lauede ablode=, I, 244, 9; V, 288, 16: swam in blood.
=lav=(=e=)=rock=, I, 201, 3; 202, 3; 205, =F= 4; IV, 266, 16: lark.
=law=, I, 209 a: faith, creed.
=law=, Castle-law, II, 149, 4, 7; Biddess-law, III, 460, 29: hill (A.
S. hlǽw).
=lawhe=, V, 80, 48: laugh. _pret._ lowhe.
=lawin=(=g=), III, 472, 7; IV, 151 f., =A= 2-4, =B= 5, 9, 10, etc.;
157, 5, 6: tavern-reckoning.
=lawing=, V, 266, 8: lying (reclining).
=lawnde.= See =launde=.
=lax=, IV, 233, 18: relief.
=lay=, II, 59, 25: law, faith.
=lay=, II, 483, 1; IV, 203 f., 6, 7, 23; V, 260, 10, 11: land not under
cultivation, grass, sward. lays, IV, 224, 23: fields, plains, ground.
=lay=, _v._, lie.
=lay=, I, 399 a, =E= 11: seems to be nonsense; probably we should read
gray, as in No 248, IV, 389 f.
=lay by=, IV, 519, 5, 7, 11; 520, 5, 10 (lay’d==lay it): lay aside, let
be, cease. lay bay, V, 275 b, 3: put aside or behind, outsail.
=layelly=, loathsome. See =laidley=.
=laying=, IV, 174, 1: lawing, reckoning.
=lay-land=, II, 59, 23: (Old Eng. leyland) lea land, untilled land;
simply plain, ground.
=laylë=, loathsome. See =laidley=.
=layn= (withouten), III, 97, 17; 100, 81: lie (truly).
=layne= (Icel. leyna), IV, 7 f., 30, 47: conceal. See =lain=.
=layne=, _v._ (A. S. légnian), III, 297, 35, 40: lie.
=layne=, _v._, II, 87, 33: lean.
=lazar=, =-er=, II, 44-46, 4, 5, 9, 11, etc.: leper.
=lea=, =lee=, =lie=, =loe=, =loi=, =loie=, =loy=, =loo=, =low=, =lue=,
_v._, I, 438, 10; II, 260, 4; 408, 23; 417, 2; 419, 52; V, 116, 2, 3;
117, 3; 220, 6; 221, 9; 242, 14; 260, 13; 272 b, 3, 7, 11; 277 f., 1,
4, 23, 31: love.
=lea=, =lee=, lie, _mentiri_.
=lea=, III, 457, =A= 2; IV, 100, 4; 102, =L= 6; 263, 2: leave. (so
leave, IV, 94, 15, is to be sounded.)
=lea=, _n._ See =lee=.
=lea=, =lee=, lie lea, lie lee: IV, 26, 5; 350, =B b= after 2; 520, 2:
untilled. lay lee, V, 189 b: lay waste.
=leace=, withouten leace, III, 27, 108, 115: falsehood.
=lead=, III, 460, 26: lead their horses?
=lead=, V, 36, 11; 117, 14; 221, 18; 268, 18: led.
=lead=, laid.
=lead=(=e=), I, 232, 9; V, 53, 103: vat, boiler.
=leaf=, loaf.
=leaf=, gae out under the leaf, IV, 379, 6: luff, loof, after part of a
ship’s bow; or here, as opposed to lee, the weather side. See =lowe=.
=leak=, _adj._, V, 111, 20; 224, 26: like.
=leak=, _v._, V, 242, 15: like.
=leak=, II, 193, 28; V, 224, 26; 228, 28:===lyke=, for lyke-wake,
watching of a dead body.
=leak-wake=, V, 228, 13, 14, 23, 24: lyke-wake, watching of a dead
body. See =lake-wake=, =lyke-wake=.
=leal=, =leel=, =leil=, =liel=, III, 464, 12: loyal, faithful, true. I,
70, 24; 73, 34, 45, 46; II, 73, 19; III, 437, 36; IV, 212, 1; 240, 13;
283, 11; 289, 11: virginal, chaste, expers viri; so, lealest, leelest,
I, 220, =A= 3; 221, =D= 6. III, 464, 3; 465, 30: veracious. V, 115, 5:
upright, honest. love me leel, I, 345, 9: faithfully.
=lea-lang=, I, 352, 7. See =lee=, _adj._
=leall=, V, 248, 4: perhaps only faithful; but possibly lief, lee
(dear), leman, the final l being caught from leman.
=leam=, =leem=, _v._, II, 410, 24: gleam.
=lean=, =leen=, his, him, IV, 345, =I= 5: lane, lone. See =lane=.
=lean=, =leane=, =lene=, =len=, _v._, II, 403, 8 (see =len=); III, 330,
19; 420 f., 30, 32, 34, 52; IV, 277, 15, 17; V, 36, =B= 8, 9: conceal.
II, 164, 8, 11, 14: conceal, or lie. See =lain=, to conceal.
=leap=, _pret._ of leap, loup, V, 227, 17. See =leepe=.
=lear=, II, 176, =C= 1, 2: instruction. IV, 413, 2; 414, 1; 467, 1:
learning. III, 473, 24: information. See =lair=.
=lear=, II, 313, 25: apparently meant for lair, bed; but rhymed with
white, and the reading should undoubtedly be lyke, that is, lyke-wake,
as in II, 117, 16.
=leard=, laird. See =lard=.
=lease===leash, II, 265, 19: a thong or string (as if for bringing back
the deer he should kill?). I, 211, 20: a leash (of hounds), pack. III,
216, 31: a leash (of bucks), three.
=leasing=(=e=), =leasynge=, =lesynge=, =leesin=, I, 412, 26; III, 28,
132, 134; 359, 86; IV, 465, 22: falsehood.
=leath=, =laith=, III, 162, 54; IV, 479, 4; V, 216, 6: loath.
=leaugh=, =leugh=, =lewgh=, =leiugh=, =lieugh=, III, 465 f., 33, 39,
42, 49; 487, 6, 14, 16 (see =laigh=): low.
=leave=, gie them a’ thier leave, I, 431, =D= 13, =E= 10: take leave of
them all.
=leave===leeve, dear, II, 414, 24. leaver, III, 362, 82.
=leave= (to weepe), IV, 140, 10: cease.
=leave=, live.
=lede=, III, 74, 368: leading, conduct.
=ledës-man=, =lodesman=, III, 74, 369; 88, 369: guide.
=ledyt=, I, 242, 11, _old imperative plural_: lead.
=lee=, =lea=, I, 100, 4; III, 171, 9; 174, 20: untilled ground, grass
land, open plain, ground.
=lee=, lie lee, IV, 26, 5: untilled. lay lee, V, 189 b, lay waste.
=lee=, _adj._, the (this, a) lee-lang, lief-lang day, I, 100, 11, 12;
440, 3; II, 96, =I= 2: (Old Eng. the leevë longë day) livelong, from
A. S. léof, used like German lieb in der liebe lange tag, die liebe
lange nacht. So lee, le, lei, ley, licht o the moon, I, 389, 5; II,
188 f., 4, 14, 35; 195, 37; 233, =F= 1; 374, =B= 3; 413, 7, as in die
liebe sonne, der liebe mond, regen, wind, and other formulas in great
variety. (lee licht o the moon is replaced, II, 103 f., 10, 12; 106,
10, by hie light, ae light.)
=lee=, _v._, lie, _mentiri_.
=lee=, II, 256, =K= 5: live.
=lee=, _v._, love. See =lea=, =love=.
=leech=, IV, 426, 11: meant for leesh, and so spelt in another copy.
=leed=, =lied= (A. S. lǽden), I, 207, 18; 430, 5, 9; II, 366, 19;
IV, 379, 14: talk.
=leed= (A. S. léod), III, 355, 3: man. _pl._ leeds, 6: people.
=leed=, laid.
=leed=, _n._, II, 366, 37: lead.
=leedginge=, II, 58, 7: leeching, doctoring.
=leeft=, _pret._, IV, 220, 1: lived.
=leel=, loyal, faithful, etc. love me leel, I, 345, 9: faithfully. See
=leal=.
=lee-lang.= See =lee=.
=leemin=, II, 361, 33: gleaming.
=leems=, IV, 460 a, No 47: gleams; but _langs_, belongs, is the word
required; cf. I, 430, 6.
=leen=, =lean=, her, your leen, him leen, IV, 291 b; 345, 9; V, 171, 2,
6: lone. See =lane=.
=leepe=, =leap=, _pret._ of leap, loup, II, 445, 76; V, 227, 17.
=lees=, =leeze=, me on thee, III, 495 a, after 7; IV, 517, 15:
blessings on, commend me to. (lees me, originally leeve is me, dear is
to me, my delight is.)
=leese=, III, 37, 75; 189, 4; 228, 17; 374, 3: lose.
=leesin=, IV, 465, 22: a lie. See =leasing=(=e=).
=leesome=, I, 182-3; IV, 432, 2; 455, 18; V, 178, 1: lovely, pleasing,
leesome blew the wind, IV, 410, 10: pleasantly.
=leeve=, =leve=, =leave=, =lefe=, =lieve=, =live=, _adj._, II, 305, 13;
414, 24; V, 227, 13: lovely, dear, pleasant; _comp._ leifer, leuer, I,
328, 43; III, 24, 35; 189, =A= 9; 297, 42; 436 f., 10, 25; V, 83, 51.
epithet of London, II, 265, 5, 12; 440, 14; III, 276, 1; 284, 6, 7;
330, 16; 406, 35; V, 227, 8. So, lovely London, III, 352, 1; 355, 7.
lilly Londeen, IV, 485, 19. whether he were loth or lefe, III, 67, 225
(properly, him were): disagreeable or agreeable; here, unwilling or
willing. For _had lever_ see =leuer=.
=leeve=, III, 105, 15: believe.
=leeve=, III, 287, 62: grant.
=leeze.= See =lees=.
=lefe=, III, 28, 128: pleasing, agreeable. III, 67, 225: pleased. See
=leefe=.
=leffe= (A. S. lǽfan), wolde not leffe beheynde, III, 112, 60:
remain.
=leg=, V, 126 f., 1, 2, 5, etc.: highwayman.
=legg=, V, 275, 7: league.
=leguays=, =lequays=, V, 217, 12, 13: likewise.
=lei=, =ley=, lei light o the moon, II, 188 f., 4, 14, 35; 195, 37. See
=lee=, _adj._
=leifer=, =leifar=, III, 436 f., 10, 25; IV, 196, 13: rather. See
=leeve=.
=leil.= See =leal=.
=leiugh=, low. See =leaugh=.
=leman=, =lemman=, Old Eng. leofman, beloved (of both sexes). I, 232,
6, 7; 314, 2-4, 6; II, 271, 18; 273, 24, 400, 6; IV, 151, =B= 1, 2;
154, 2, 3; V, 283, 3: lover, paramour. I, 72, 30, 32; 117, 8; 254,
10; II, 73, 27, 28; 81, 40; 289, =B= 2, 3; V, 248, 4; 283, 12: love,
mistress, loose woman.
=lemanless=, III, 434, 28: without lovers.
=lemanry=, V, 25, 4: illicit love.
=len=, _v._, lean. See =lend=.
=len=, =lene=, III, 420 f., 30, 32, 34, 52; neither lee nor len, IV,
277, 15, 17: conceal. II, 164, 8, 11, 14: conceal, or lie. that cannot
longer len, II, 403, 8: remain concealed (but the reading should
probably be, I cannot). See =lain=, =lean=.
=len=, =lene=, III, 79, 40, 81; V, 283, 14: lend, give, grant.
=lend=, II, 229, 5, 8; III, 63 f., 153, 165; 82, 76; 85, 76; V, 49, 21:
grant, give.
=lend=, _n._, II, 185, 38: loan.
=lend=, I, 207, 19, lend ye till your pike-staff: we should no doubt
read len==lean. lent. I, 223, =I= 4: leaned.
=lende=, III, 75, 395: dwell.
=lene=, conceal. See =len=.
=lenger=, =lengre=, III, 61, 105; 73, 341; 78, 443: longer.
=lenght=, III, 478, 17: length.
=length=, this length, IV, 271, =A= 4: for so long.
=lent=, _pret._, I, 223, =I= 4: leaned.
=lequays=, likewise. See =leguays=.
=lere= (A. S. hléor), III, 57, 28: cheek, face.
=lere=, III, 57, 16; 77, 426: learn.
=lese=, =leese=, III, 59, 56: lose.
=less= (age), IV, 64 a: minor.
=less o him=, I, 332, =G= 1: smaller of him, than him.
=lesse=, III, 296, 25: false, falsehood.
=lest=, II, 81, 45 (reading in earlier MS. for rest): last.
=lesynge=, falsehood. See =leasing(e)=.
=let=, =lat= (A. S. lǽtan), allow, leave. II, 54, 48; 265, 8, 15,
24; III, 58, 38: omit, fail. _pret._ late, loot, lute, lett. _p. p._
latten, letten, lotten, looten, loot (?).
=let=, =lette= (A. S. lettan), I, 334, 8; III, 110, 22, 23; 128, 75;
307, 2: hinder.
=letten=, _p. p._ of let, I, 87, 43; 452, 6: allowed, left.
=letters=, =letturs=, III, 99, 55 (the kyng did hit vnfold); III, 297,
36: letter.
=leuch=, =luke=, _pret._ of laugh, II, 30, =K= 1; 81, 33; 366, 23; IV,
272, 9.
=leugh=, _n._, lower part. See =laugh=.
=leugh=, _pret._ of laugh, I, 388, =A= 7; II, 134, 21; III, 69, 273;
467, 60; 490, 17.
=leugh=, =leaugh=, =lewgh=, etc., IV, 465, 34, 38; 484 f., 8, 10: low.
=leutye=, =lewtë=, III, 64, 154, 169: loyalty, faith.
=leuve=, I, 17, 14: palm of the hand. See =loof=.
=leve=, =lave=, _m._, II, 75, 20: rest.
=leue=, _v._, III, 61, 112; 79, 76: permit, grant.
=levedys=, I, 334, 9: ladies.
=leven=, I, 324, 13; 325, 12: lawn, glade, open ground in a forest. See
=launde=.
=leuer=, =leifer=, pleasanter, preferable, rather. had leuer, III, 24,
35; 189, =A= 9; 297, 42; 436 f., 10, 25; V, 83, 51. See =leeve=.
=lewde= (lye), III, 171, 8: base, vile.
=lewgh=, low. See =leaugh=.
=lewte.= See =leutye=.
=ley=, =lea=, =lee=, III, 109, 4; for a’ his father’s leys, II,
333, 11; 334, =M= 4; riding the leys, IV, 137, 34: land not under
cultivation, simply land, plain, field. lands and ley, V, 157, 2:
arable land and pasture; a common phrase in Scots conveyancing, “all
and whole the lands and leas.”
=ley-land=, I, 15, 11; 16, =B= 11: land lying lea, not under
cultivation. See =lay-land=.
=ley licht.= See =lei=, =lee=.
=leyngger=, V, 80, 37: longer.
=leyt=, V, 80, 37: lighted.
=leythe=, III, 112, 62: light.
=liag=, V, 237, 5: leg.
=libertie=, lying at, II, 464, 11: possessed in one’s own right,
unencumbered.
=liberty=, =lybertye=, place of, II, 443, 39; 449, 44, 52: where one
can fight without fear of interruption?
=liberty-wife=, II, 291, 2: mistress.
=licence=, V, 155, =C= 3, make their licence free: pay the licence of
an inn-keeper.
=licht=, I, 146, 19, 20: alight. lichted, lichtit, II, 92, 16; IV, 195,
=D= 2; 337 b, g after 20.
=lichter=, I, 21 b, 8; II, 105, 10: delivered. See =lighter=.
=lichtlie=, =lichtly=, =lightly=, IV, 94, 3; 98, 8; 100, 7; 337 a, g
16: make light of, treat, or speak of, with disrespect.
=lick=, II, 470, 45: gratuity (of meal from the miller).
=lick=, III, 163, 87: take for one’s self; cf. II, 470, 45.
=lidder=, =lither=, III, 464, 1: lazy. as _adv._, 467, b 1:
excessively. (A. S. lýðre, bad.)
=lie=, =ly=, =lye=, I, 103, 10; III, 123, 5; 432, 17; V, 191, 5:
reside, live.
=lie=, =lee=, =lea=, love. See =lea=.
=lie=, III, 301, =E=: lea.
=lie=, thou lie, IV, 197, 17: for thou liest, ye lie.
=lied= (A. S. lǽden), I, 430, 5, 9: language, talk. See =leed=.
=lied=, _pret._, V, 220, 6: loved.
=lief-lang.= See =lee-lang=, under =lee=.
=liel=, I, 70, 24: chaste. See =leal=.
=lien=, _p. p._, II, 135, 32: lain. she’s nouther pin’d nor lien, IV,
484, after 25: has not been lying bed-rid, does not look like one who
has long been confined to bed.
=lierachie=, III, 319, 20: hubbub. “leerach==the bottom of a dung-pit
after the dung has been removed, but left in a filthy state. The word
is used to signify anything in a disordered state. Hence, confusion,
hubbub.” Rev. Walter Gregor.
=lieugh=, low. See =leaugh=.
=lieve=, II, 345, 34: dear. See =leeve=.
=life=, leaf.
=life=, man of life, II, 244, 10: man alive (Chaucer’s lives man).
=lift=, I, 370, 16; 440, 18; II, 26, 14: air, sky.
=lift=, V, 82, 37: lifted.
=lig=, =ligg=, =ligge=, =lygge=, _imperat._, I, 328, 36; II, 437, 72;
439, 4, 7; IV, 396, 6; _inf._, III, 212, 17: lay.
=lig=, =ligge=, =lygge=, I, 328, 38-41; II, 244, 6, 7: lie.
=light=, _pret._, II, 46, 38; 54, 49; V, 53, 93: lighted, alighted. See
=lyght=.
=light=, III, 156, 1: corruption of lith, listen.
=lighter=, of a bairn, I, 86 f., 7, 8, 16, 17, 24, 25, 43; II, 98,
35; 108, 12; 109, 11; 115, 23; 117, 10, 11; 118, 13; 123, 25, 26:
delivered. (Icel. verða léttari, Old Eng. to lighten.) lighter a
dochter, II, 132, 15: _ellipsis of_ of. See =lichter=.
=lightly=, =lightlie=, =lyghtly=(=e=), III, 23 ff., 11, 41, 45, 61, V,
82, 36: quickly. III, 35, 35: easily. V, 84, 3: for slight reason.
=lightly=, =lichtlie=, =-ly=, III, 472, 10; IV, 351, 2, 9: treat with
disrespect. IV, 92, 2: slight (in love). IV, 94, 3; 98, 8; 100, 7; 103,
=M= 1; IV, 337 a, g 16: speak disparagingly of.
=like=, =liken=, like to be dead (dee), II, 58, 7; 372, 24; III, 386,
7; 392, 6; 394, =J= 4; 395, =M= 2 (cf. =L= 2): in a condition, in a
fair way, or likely. liker, II, 97, 22: more likely (?). See =lyken=.
=like=, III, 355, 13; 358, 60, 80; 360, 109, 111: please. III, 400 a,
(7): be pleased, satisfied.
=likesome=, II, 433, 5, 6, 8; 440, 23; 442, 4; 446, 89: pleasing,
lovely.
=lilt=, I, 187 b; IV, 266, 16: to sing cheerfully. lilted, IV, 95, 3:
sang, chanted.
=lily=, =lilly=, =lilye=, =lillie=, =liley=, =lillie=, lea, lee, lie,
I, 325, =B= 11; III, 299, 8, 11; 300, 25; 301, 32, =E=; 435, 2; IV,
454, 6; 455, 14; 458, 7; V, 244, 16, 19; lillie leven, I, 324, 13; 325,
=C= 12; lilly bank, brae, IV, 220, 13, 14: explained as “overspread
with lilies or flowers,” but clearly from A. S. léoflíc, Old Eng.
lefly, etc., lovely, charming. So, lilly feet (i. e. leely), I, 130,
=E= 13; lily leesome thing, IV, 432, 2. We have lilly Londeen, IV, 485,
19==the frequent leeve London, lovely London. See =leeve=, =lee-lang=.
=limmer= (French limier, a kind of hound), a term of opprobrium, or
simply of dislike. II, 322, 6; III, 466, 47: wretch (_m._ or _f._),
rascal. limmer thieves, 439 f., 4, 20; 441, 34. limmer loon, IV, 146,
15, 17. of a woman, II, 219, 9: jade.
=lin.= See =linn=.
=Lin=, =Linn=, =Linne=, =Line=, =Lyne=, a stock ballad-locality (like
Linkum): I, 78, 38; 466, 5; 478 f., 5, 10, 16, 34; II, 240, 2; 290, 19;
IV, 379, 18; 381, 12; 382, 15; V, 14, 1 ff.; 182 f., 2, 11, 29; 219, 6;
thro Linkum and thro Lin, II, 124, 37.
=lin=, III, 105, 11; 174, 15: stop.
=lin’d=, III, 164, 91: beat.
=ling=, =lyng=, III, 3, 6; 7, 5; 99, 53: a species of rush, or thin
long grass, bent grass, Scotland; in England, heath, furze.
=lingcan=, I, 299, 5: lichame, body.
=linger=, I, 334, 8: longer.
=Linkem.= See =Linkum=.
=linkin=, =linken=, IV, 332 b; V, 124, 4; 240, 1: tripping, walking
with a light step. on a horse, II, 285, 11. linking ladie, IV, 355
b: light of movement. key gaed linking in, V, 18, b 23: passing in
quickly, slipping in.
=linkit his armour oer a tree=, III, 270, =E= 7, comparing =A= 9; =B=
8; =D= 8, and observing the crooked carle in =E= 8, seems likely to be
corrupt, and perhaps we should read leaned his arm out-oer. Otherwise,
hung his armor, etc.
=Linkum=, an indefinite ballad-locality. not a bell in merry Linkum,
II, 106, 21, 22. thro Linkum and thro Lin, II, 124, 37. cock crew i the
merry Linkem, II, 239, =B= 4. a the squires in merry Linkum, IV, 432, 1.
=linn=, =lin=, =lynn=(=e=), water-course, torrent, river, pool in a
river (A. S. hlynna, torrens): I, 303, =D= 4; II, 147, 9; 153, 24; III,
274, 1. of a mill-stream, I, 129, =D= 6. o’er the linne, II, 282 f., 9,
17, 18; IV, 479, 10 (==in the lynn, IV, 479, 5); II, 283, 8, 9: over
the bank into.
=Linnen=, II, 225, =D= 3: Lunnon, London.
=linsey=, linsey-woolsey.
=lint=, IV, 433, 32: linen, linen mutch or cap.
=lippen on me=, II, 94, 10: depend. to God, III, 269, 12; to good==God,
V, 243, 15: trust.
=lirk=, IV, 198, 2: crease, hollow.
=lish=, leash.
=list=, _n._, III, 137, 2; 181, 16: inclination.
=list=, _v._, III, 171, 9; 179, 4; 311, 19: desire, be disposed.
_pret._ list, III, 171, 11. _impersonal_, me list, III, 97, 9. See
=lyste=.
=lith=, =lyth=, I, 135, =O= 15, 17; 345, =C= 4; II, 412, 1; 413, 8:
member, joint.
=lith=, I, 334, 7: light.
=lith=, =lithe=, =lythe= (Icel. hlýða), I, 334, 10; III, 22, 5; 198, 1;
411, 1: hearken.
=lither=, II, 54, 51; 138 f., 9, 13, 22, 23: bad. See =lidder=.
=Litle Brittaine=, I, 284 f., 4, 24, 33, 37: generally understood as
French Brittany, but it is inexplicable that Arthur should be reigning
there. Perhaps Litle means no more in this piece than in Litle England,
II, 440, 20, 22; III, 278, 34; 285, 27; Litle London, III, 285, 22;
Litle Durham, III, 285 f., 29, 39, 40. All these places, it will be
observed, are in the Percy MS.
=live=, leave.
=live=, V, 227, 13: dear.
=live best=, IV, 146, 2: are the best of those living.
=lively=, I, 184, 47: alive.
=liuer=, _adj._, III, 180, 10: deliver, agile.
=liuerance=, III, 411, 8: payment for delivering.
=livery-man=, I, 419, 1; 421, 1: servant.
=liues=, II, 59, 25: ’lieves, believes.
=liuor=, III, 411 f., 8, 9, 10, 14: deliver, hand over, surrender.
=load=, III, 267, 10: loaded (with liquor).
=loaden=, _p. p._ of load, IV, 395, =A b= 5.
=loan=, =lone=, a common, any free or uncultivated spot where children
can play or people meet, even the free spaces about a house: II, 62 a,
14, 16; 140, 1; V, 118, 2. (loan-head, IV, 285, 11, is toun-head in the
original.)
=locked=, =lockit=, in a glove, II, 461, 21; 464, 6; 477, =D= 17:
fastened.
=lockerin=, comes lockerin to your hand, IV, 213, 14; lockren, V, 258
b, 7: curling, closing as if to embrace.
=loddy=, IV, 70 f., =G= 4, 5, etc.: laddy.
=lodder=, =loder=, V, 283, 6, 16: louder.
=lodesman.= See =ledesman=.
=lodging-maill=, III, 474, 38: rent for lodging.
=lodly=, I, 285 f., 31, 43, 56; II, 44, 12: loathly, disgusting.
=lodomy=, IV, 398 f., 9, 34: laudanum.
=loe=, =loie=, =loy=, =lou=, _v._, I, 438, 10; V, 221, 9; 260, 13; 272
b, 3, 7, 11; 277, 1, 4: love. See =lea=.
=loffe=, _n._ and _v._, V, 79, 26, 28: love.
=logie=, IV, 175, =N= 11: lodge.
=loie=, =loy=, love. See =loe=.
=lome=, II, 44, 12: lame man.
=lone=, _n._, II, 333, 1; 489, 17. See =loan=.
=long=, tall. Long Lankyn, Long Iamie, II, 328, 1, etc.; III, 358, 63,
65, etc.
=long of=, II, 436, 53; III, 98, 22: owing to, the fault of.
=loo=, love, II, 408, 23. _pret._ lood, II, 417, 2; 419, 52. See =lea=.
=lood=, loud.
=loof=, =looff=, =lufe=, =luve=, =leuve=, I, 15, 15; 16, =B= 16, =C=
16; 17, 14; 18, =F= 9; 19, 14; III, 374, 8: palm of the hand. (Icel.
lófi.)
=looke=, IV, 503, 12: look up.
=loon.= See =loun=.
=loord.= See =lourd=.
=loose=, V, 300, No 191: lose.
=loot=, bend. See =lout=.
=loot=, _pret._ of let, I, 68, 7; 204, 19: allowed.
=loot=, _p. p._ (?) of let, I, 351, 49; III, 436, 13; IV, 33, 26:
allowed, allowed to, come.
=looten=, _p. p._ of let, II, 168, 8: allowed (to come). See =lotten=.
=lope=, _pret._ of loup, II, 59, 30; 434 f., 28, 47; 436, 58; III, 479,
39.
=lord nor loun=, III, 301, 32: man of high or low rank. In II, 159, 26,
lord is a wrong reading; rogue nor loun, or the like, is required, as
in 160, 20.
=lordane=, =lurden=, III, 25, 61: dolt, clodpoll, etc.
=lore=, =lorne=, III, 59, 51; V, 79, 32: lost.
=loset=, III, 94, 52: loosed, delivered.
=loss=, V, 200 a, 65; 262, No 223, 10; 277, 6: lose.
=lotten=, _p. p._ of let, I, 87, 38: allowed. See =looten=.
=loudly=, III, 440, 12: loud.
=lough=, =loughe=, _pret._ of laugh, II, 54, 58; 444, 48; V, 254 b, 2.
See =leuch=, =leugh=.
=lought=, _pret._ of laugh, III, 82, 74; V, 51, 55.
=loukynge=, V, 283, 17: expectation, hope deferred.
=loun=, =lown=, =lowne=, =loon=, IV, 501, 36, 37: a person of low rank.
laird or (nor) loun (lown), I, 69, 40, 41; 71, 32; III, 435, =F= 8;
IV, 514, 12. lord nor (or) loun (lowne), III, 301, 32; 430, 13; 435,
=E= 5; 436, 6, 8. IV, 11, 2; 519, =H= 2, =I= 2: rogue. often a mere
term of general disparagement (as in, English loun): (of a man) II,
118, 3, 4; 140, 25; V, 171, 4; (woman) I, 100, 30; 491, =G= 24, =H= 22.
fellow, without disparagement, IV, 258, 21. naughty girl, II, 419, 37.
mistress, concubine, whore, II, 181 b; IV, 14, 13; 330 a, 3; 332 b;
469, 3; 519, 9; 520, 13. See =lown=.
=loup=, I, 102, =D= 3; II, 464, 1; IV, 44 f., 14, 15, 17, 23; 47, 4,
5: leap. _pret._ lap, leap, leepe, lope, loup, louped. _p. p._ loupen,
luppen. loupin, V, 213, 3, has been explained as a form of leeping,
heating (warming herself over the coal; cf. cowering oer a coal, I,
304, 2). We have, however, whisking ore the coal, I, 302, 4; reeking
(==raiking) oer the coal, 304 =E= 3; and _across_ agrees better with
leaping than with heating.
=loup=, _pret._ of loup, II, 461, 5.
=loupen=, =louped=, _p. p._ of loup, III, 465, 27; IV, 462, 36.
=lourd=, =loord=, _pret._ and _p. p._ of lour==prefer, verb made from
lever, rather. I had lourd, IV, 199, 18. I wad lourd have, IV, 7, 43.
loord a had, V, 251, 36. I rather lourd it had been, II, 275 b.
=lout=, =loot=, I, 56, =B= 12; 351, 36, 48; II, 401, =C= 5: bow, bend,
lean. _pret._ louted, looted. louted in, I, 331, =D= 5: bent our heads
to enter? louted twafauld, threefauld, V, 242 b, 7: bent double,
treble, _p. p._ louted, lootit, louten.
=louten=, _p. p._ of lout, II, 168, 9: bent.
=love=, I, 476, =J= 4: loaf.
=love-clapped=, II, 165, 10; 169, 8; 171, 13; 370, 8; 371, 8; IV, 392,
8; V, 277, 8: embraced lovingly, caressed.
=loverd=, I, 243 f., 1, 6, 17: lord.
=louesome=, III, 431, 30: lovely.
=lov(e)ly=, =louelie=, epithet of London: III, 199, 19; 310, 61; 352,
1; 355, 7. See =leeve=.
=low=, =lowe=, I, 211, 35; III, 93, 46: hill.
=low=, =lowe=, III, 435, =F= 5, 10; 436 f., 13, 20, 24, 34; IV, 47, 5;
514, 8: flame.
=low=, =lowe=, _pret._ of laugh, III, 110, 16; 112, 53; V, 78, 4. See
=lowhe=.
=lowe=, doggs bite soe, III, 342, 66: a phrase for, take mean
advantages.
=lowe=, bye lerbord or by lowe, IV, 504, 30: loof, luff, the after part
of a ship’s bow (Falconer, Marine Dictionary); or perhaps the weather
side. See =leaf=.
=lowhe=, =low=, =lowe=, _pret._ of laugh, V, 80, 44, 46-48.
=lown=, IV, 304, 8, 9: must mean here a young man in a low social
position, since there can be no question of her kissing a disreputable
fellow. There is no proper contrast with lad, and probably we should
read, laird nor lown (see =loun=).
=lowse=, loose, free.
=loyed=, V, 221, 9: loved.
=lucettes=, III, 297, 46: luces, pikes.
=Luckenbooths=, V, 162, =C= 7: a range of buildings which formerly
stood in the thoroughfare of the High Street in Edinburgh, parallel to
Saint Giles Church.
=lue=, =loe=, =loo=, =lou=, =loie=, =lea=, =lee=, =lie=, _v._, love.
See =lea=.
=lufe=, =luve=, =leuve=, =loof=, I, 16, =C= 16; 17, 14; 19, 14; III,
374, 8: palm of the hand.
=lugs=, I, 302, =A= 10; IV, 53, 11; 296, 8; V, 102, =B= 15; 103 b, 15:
ears.
=luid=, III, 370, 19: loved.
=luke=, _pret._ of laugh, V, 238, 28.
=lum=, V, 125, 3, 9: chimney.
=luppen=, _p. p._ of loup, leap, I, 55, =A= 3, =B= 3; IV, 444, 26; 470,
30; 518, 8.
=lurden=, =lordan=, III, 35, 18: dolt, clodpoll.
=luscan=, a sturdy beggar (and thievish), III, 519 a.
=lust=, V, 213 a, 1: a bundle. (last, a measure, as twelve dozen hides
or skins, etc.?)
=lust=, III, 56, 6; 85 and 89, 446; 332, 13: inclination, disposition.
thy lustës to full fyll, III, 90 b: wishes. att his owne lust, III,
332, 13: pleasure.
=lute=, _pret._ of lett, IV, 345, 8: allowed. V, 248, 15: let down.
=luve=, palm of the hand. See =loof=.
=ly=, =lye=, IV, 261, 24; V, 168 f., 1, 2, 3, etc.: live, dwell.
_pret._ lyed.
=lyand=, lying.
=lyart=, IV, 7, 36: grizzled, gray.
=lybertye=, apoint a place of, II, 443, 39; 449, 44, 52: a place where
the two can fight freely, without risk of interruption?
=lye.= See =ly=.
=lyed=, II, 266, 28: lay, lived. See =ly=.
=lygge=, =ligge=, I, 328, 38-41: lie. See =lig=.
=lygge=, lay. See =lig=.
=lyghte=, =lyght=, I, 327, 21; III, 297, 33: alighted. See =light=.
=lyghtly=(=e=). See =lightly=.
=lyke=, I, 327, 22; III, 28, 121; 64, 165; 76, 417: please.
=lyke=, I, 506, 3, 8, 9; II, 295, 8; IV, 236, 30: lyke-wake, watching
of a dead body. In II, 117, 16: simply, death-scene.
=lyke-wake=, I, 251, =B= 4, 5, 7; II, 282, 14; III, 495 b, 21; IV, 516
f., 1, 7, 18: watch of a dead body. dead lyke-wake, I, 251, =B= 4, 5:
wake for your death. See =lyke=, =leak=, =leak-=(=lake-=)=wake=.
=lyken=, _participle_, IV, 511 b, =X= 6: about, at the point. See
=like=, =liken=.
=lynde=, =lyne=, III, 75, 398; 91, 2; 92, 22; 93, 33; 97, 10; 98, 23;
100, 76, 78: linden, tree.
=lyne.= See =lynde=.
=lyne.= See =lin=.
=lyng=, III, 99, 53: heath. See =ling=.
=lyon=, III, 344, 33; 349, 33: the royal standard (quite out of place
here).
=lyste=, =me lyste=, III, 78, 446: it would please me, I should like.
See =list=.
=lyth=, =lyth=, =lithe= (Icel. hlýða), III, 56, 1; 63, 144, 70, 282;
71, 317: hearken.
=lyth=, member. See =lith=.
=lyuer=, III, 362, 82: leever, rather.
=lyueray=, III, 59, 70: present of clothes. III, 64, 161: purveyance of
drink.
M
=ma=, III, 490, 15, 27, 29: bit, whit.
=Mable=, booke of, III, 422, 61: some book of predictions, like Thomas
Rymer’s.
=made=, a lie, I, 478, 25: told.
=made=, men, III, 406, 37: raised. made a bow o bere, V, 264 a, 2:
contributed.
=mae=, III, 301, =E=; 349, 46; IV, 490, 27: more.
=maen=, =mane=, =meen=, _n._, II, 107, 2: moan.
=magger of=, in the, III, 307, 1: in spite of, maugre.
=maick=, =make=, mate.
=maid=, =may=, used loosely of a young wife: II, 300, 6, 8; 307, 33;
V, 227, 7. So κόρη, παρθένος, in Homer, of a young wife, and puella of
married woman often.
=maid= _of a place_, as, maid of the Cowdenknows, IV, 200, 12, 13;
202, =J= 2, 3; 203, 8; 205, 14: the eldest daughter of the tenant or
proprietor, who is generally called by the name of his farm.
=maid alone=, II, 149, 2: solitary, like burd-alone, I, 298, 2 (which,
however, is there used of a man).
=maiden=, IV, 30 a: an instrument for beheading, resembling the
guillotine.
=maigled=, IV, 41, note *: mangled.
=maik.= See =make=.
=mail=, rent. lodging-maill, III, 474, 38.
=main.= man o the main, is it to a man o the might, or till a man o
the main, II, 403, 7, 8: main can have no sense distinct from might,
and man of the might, man of the main, is simple verbiage. In =B= 4,
=H= 6, we have, to a man of micht or a man of mean: man of mean cannot
be wrenched into man of low degree, and we do not want that sense even
if we could legitimately get it, for the antithesis is not between the
man of micht and the man of mean degree, but between both these and the
robber or robbers of the last half of the stanza. The stall copy, 405,
5, 6, having only grammar in mind, reads man (one) that’s mean, and but
for rhyme might perhaps have gone so far as, a man of means. IV, 146,
21, reads, man o mine, to avoid the difficulty. See =mean=.
=main=, _n._, IV, 473, 39: moan. See =mane=.
=ma-i-ntn=, V, 303 a: maintain, support.
=mair=, IV, 21, 14: more, bigger.
=mairly=, IV, 59 f., =d= 2; =e= 2, =g= 2: a rhyme used for mair.
=maist=, II, 169, 7: almost.
=maistly=, I, 138 b, =d= 5: mostly, almost. See =mostly=.
=make=, =maik=, =maicke=, I, 127, 14; 128, 11: 129, =D= 8; 347, 23, 30;
348, 11, 17: mate, consort. I, 403, 12; II, 46, 1; IV, 344, 7; V, 184,
44: match, like; and so in, what is my lineage or what is my make, IV,
341, =D= 8.
=make=, III, 37, 67: for _made_, _p. p._
=making=, IV, 208, 3: doing, deportment.
=maks=, V, 307 b: makes.
=male=, III, 63, 134; 68, 247, 255: (O. Fr. male) trunk. male-hors,
III, 74, 374.
=mall=, with the leaden mall, III, 357, 42: mallet, hammer (referring
to the weight of his stroke).
=mallasin=, malison.
=man=, V, 191, 8, 12: vassal. V, 304 b, 3: husband.
=man=, =mane=, =maun=, =mun=, I, 16, =B= 8, 9, 12-16; 146, 5, 6; V,
197, 12; 219, 29; 220, 4; 248, 12, 13: must.
=mane=, =maen=, =main=(=e=), =meane=, =meen=, I, 72, 20; 448, =A= 1,
3; etc.: moan, complaint, lament; often nothing more than utterance,
enunciation, as, I, 253, 1; 394, =A= 2; 395, =C= 4; III, 489, 1.
=mane=, _v._, I, 72, 23: moan. See =mean=.
=maney=, III, 109, 4: meny, followers. See =menë=.
=mang=, I, 108, 6: among.
=manhood=, =manhead=, =manheed=, men (man) o your, men to your, I, 108,
14; 109, 13; IV, 446 f., 14: a strange way of saying, if you are men
(man) of true valor, willing to fight one by one. III, 422, 59: manly
deed, exploit demanding courage.
=manie=, =mennie=, V, 270, 8: maunna, must not.
=mankie=, V, 173, 3: calamanco, a stuff made in the Low Countries.
=manratten=, =manrydden= (A. S. manrǽden), III, 359, 95; 362, 95:
homage, vassalage.
=manrent=, IV, 34 b: homage, vassalage. See =manratten=.
=mansworn=, I, 394, 3; IV, 442, 10: perjured.
=marchandise=, III, 92, 22: dealing.
=march-man=, III, 296, 8: one who lives on the march, or border.
=March-parti=, =Marche-partes=, III, 310, 58, 67: Border-part, -parts,
Border, Borders.
=marie=, III, 491, 14: mare.
=marie.= See =mary=.
=mark=, II, 62 b, 11; 132, 29; IV, 202, =K= 2: murky. the mark, II,
164, 3. See =mirk=.
=marke=, =merk=, I, 394 ff., =B= 1; =C= 2; III, 68, 243, 246; 69, 270:
two thirds of a pound.
=marke hym=, III, 297, 44: commit himself by signing the cross.
=marries=, IV, 487, 25: maids. See =mary=.
=marrow=, I, 147, 5; 148, =G= 4; 149, =I= 4; IV, 165, 13; 168, 2; V,
41, 16: (of man or woman) mate, husband, wife. IV, 165, 8, 9; =B= 2;
166, 2, 3; 167, =D= 6; 169, 5, 6; 170, =G= 3; =H= 3: match, equal in
rank, equal antagonist. bear ye marrow, 169, 4: should perhaps be, be
your marrow, as in 170, =G= 3.
=mary=, =marie=, =marrie=, =marry=, II, 369, 13, 15, 19, 20; 370, 13,
14, 17; 371, 14, 15, 20, 21, etc.; 390, 25; 391, 19; IV, 487, 25; 489,
26: a queen’s lady, maid-of-honor (cf. III, 381 b; 385, 18; 386, 19;
etc.), maid (like abigail).
=mary mild=, IV, 213, 13: marigold; cf. V, 259, 5.
=Mas= (James Melvine), III, 471 a: Magister, Mr. Mess James Murray, V,
196, 51: see =Mess=.
=masar=, =maser=, III, 65, 175; 83, 86, 175: a drinking-vessel, of
wood, especially of knotty-grained maple, often mounted with bands or
rings of precious metals. See Way’s note, Prompt. Parv., p. 328.
=mass=, in the frequent formula, when bells were rung and mass was sung
and a’ men bound to bed, II, 70, 21, etc.: a domestic religious service
at the end of the day. evening-mass, II, 168, =A= 4.
=mast=, =maste=, III, 296 f., 22, 31; V, 79, 22: mayst.
=master-man=, II, 16, 2: captain of a ship. V, 191, 19: chief.
=masteryes=, make, III, 92, 27: do feats of skill.
=mat=, =matt=, mat he (ye) dee! wae mat fa, mat(t) worth!==mot, in the
sense of may: II, 27, 7, 10; 472, 25, 33; IV, 391, 6; 392, 9, 21; 428,
6; V, 166, 10; 306, 10. See =met=.
=maught=, =maugt=, might.
=maugre=, maugre in theyr teethe, III, 67, 225: in spite of.
=maun=, I, 16, =B= 8, 9, etc.; =C= 7-10, etc.; 17, =D= 5-7, etc.; 146,
5, 6; 183, 25, 26: must. 71, 39 in _pret._ sense. See =man=, =mun=.
=maunna=, I, 185, 25: must not. See =manie=.
=mavosie=, I, 465, 8: mavis, song-thrush.
=maw=, =sea-maw=, II, 360, 3; 363, 7; 365, 5; IV, 482, 6: sea-mew, gull.
=maw=, _v._, I, 427, 13, 15: mow.
=mawys=, I, 326, 2: mavis, song-thrush.
=may=, =mey=, I, 115, =B= 1, 3, etc.; 173 f., 6, 10; III, 93, 39; 286,
45; IV, 432, 9; 515, 2: maid.
=may=, _optative_, frequently put after the subject, as, Christ thy
speed may bee! thou mayst sune be! I may be dead ere morn! III, 355 f.,
5, 23; 359, 87; 370, 8, 11; IV, 365, 18.
=may be===is, like _can be_: II, 448, 33; 451, 100. might be==was, III,
452, 10. (So, possibly, might see, I, 434, 30.)
=may gold=, III, 497, 13: marigold.
=mayne=, strength.
=maystry=, mastery.
=me=, I, 243 f., 5, 15: men, French _on_.
=me=, _ethical dative_, sawe I me, etc., III, 65, 184; 68, 249; 75,
381; 79, 147; 80, 169.
=meal=, III, 163, 77: meal-bag.
=meal=, II, 230, 14, 15; 362, 36: mold, dust, earth. See =meel=.
=mean=, man of, I, 358, 30; II, 233, =F= 3; 400, 4, 5; 404, 6, 7; V,
36, =B= 8, 9: mere verbiage, I judge; _mean_ looks like an attempt to
escape from _main_, which see. (man of mean, II, 233, =F= 3, not being
joined with man of might, might be understood as, man of main, or
violent man.)
=mean=, =meane=, =meen=, _v._, I, 426, 5; V, 246, 4, 6: moan, lament.
I, 388, =A= 7, 10: bemoan, lament the state of. not to mean, V, 160,
2: not to be pitied. mean, V, 160, 1, is doubtful, but the verb
corresponding to moan is to be preferred. See =mane=, =menyd=.
=mean=, _n._, moan. See =meen=.
=meany=, III, 307, 3, 10: troop. See =menë=.
=meaten=, =meeten=, II, 434, 17; III, 33, 158: measured.
=meathe=, IV, 378, 9; 380, 17: landmark.
=meatrif=, III, 163, 87: abounding in food.
=meckle=, =meikle=, =muckle=, IV, 513, 6, 7: much.
=medder=, V, 221, 11: mother.
=medill-erthe=, I, 327, 27. See =middle-earth=.
=meed=, I, 68, 10, 14; II, 172, 33: mood, heart, state of feeling.
=meed=, warld’s meed, I, 108, 14; IV, 446 f., 14: seems to be corrupted
from mate (make). Woreldes make is a familiar phrase in Old English,
and not unfrequent in ballads.
=meel=, meel or mor, III, 281, 8, 10: mold, earth, ground; but perhaps
an error for mede, mead. See =meal=.
=meen=, _v._, moan, lament. See =mean=, _v._
=meen=, =mean=, I, 427, 5; II, 124, 39; 417, 11; III, 389, 12, 13:
lamentation. See =mane=.
=meen=, I, 222, 8; 315, 8; IV, 416, 10: moon.
=meet=, I, 148, =F= 10: (_causative_) pass, put, thrust in.
=meet=, =meete=, II, 46, 45: even, equal. II, 229, 13: scant, close,
and so, perhaps, II, 436, 61.
=meeten=, =meaten=, II, 434, 17: measured, by measure. See =met=.
=meiht=, I, 243, 3: mayst.
=meikle=, =meickle=, =mickle=, =muckle=, I, 72, 24, 25; 86, 2, 3; 309
f., 2, 4; 330, =A= 3, =B= 3; IV, 514, 5: much, great.
=meisseine=, V, 132, 7: spanker, or perhaps, Fr. misaine, foresail.
=mell=, I, 299, 6; 304, 10; =F= 6; 305, 12; V, 108, =B= 6: mall, wooden
hammer, beetle.
=mell=, IV, 177 b, =I= 7: mail.
=mell=, III, 172, 24: meddle.
=meller’s hoops=, I, 304, =F= 5: mill-casings, the circular wooden
frames which surround mill-stones.
=melten= (goud), IV, 471, 37: molten.
=menë=, =menye=, =meany=, =menyie=, =meynë=, =maney=, =monie=, III, 72,
335: followers, band.
=menement=, V, 242, 9, 11, 13: amendment.
=menji=, menji feathers in her hat, V, 163, 13: many.
=mennie=, =manie=, V, 270, 8: maunna, must not.
=mensked=, I, 334, 11: honored, dignified.
=menyde= (of hir songe), I, 326, 2: moaned, uttered, delivered. See
=mean=.
=menye=, =menyie=, household, retinue, people: III, 91 a; IV, 127, 4,
5. See =menë=.
=mere=, IV, 493, 21: more.
=meri.= See =mery=.
=merk=, =marke=, I, 394 f., =B= 1, =C= 2: two thirds of a pound.
=merk.= See =merkes=.
=merk=, _v._, mark, merked them one, III, 297, 47: took their aim at.
=merkes=, III, 75, 397: distances between the bounds.
=merke-soote=, I, 334, 4: mark-shot, distance between the marks (cf.
III, 75, 397), from bow to target, bow-shot.
=merlion=, =merlyon=, II, 45, 21, 33: merlin, the smallest of British
falcons.
=merrilye=, III, 329, 11: in good or valiant fashion. So, nearly, IV,
477, 8.
=merry= (men). See =mery=.
=merry Cock land=, III, 250, 1: corruption of the _merry Scotland_ of
249, =I=, =J=, 1; 251, =M=, 1; 252, =O=, 1.
=merrys=, I, 327, 22: mars, marrest.
=mery=, =meri=, =merry=, =merrie=, =myrri=, =myrry= (men), II, 386, 12;
III, 66, 205; 71, 316; 73, 340; 97, 9; 114, 121, 131; 116, 2; 285 f.,
30, 48; 309, 37; 330, 17; 430, 5; 431, 4; 432, 2; 433, 2; IV, 234, 39;
V, 191, 4, 14: a standing phrase for followers, companions in arms.
=mese=, I, 328, 45: course (at table).
=mese=, III, 484 a, 16: mitigate.
=Mess=, an epithet said to be contemptuous for a priest or parish
minister (as one who says, or said, mass), so Mess John, IV, 442, 10,
12; but there is no reason to suppose disrespect in V, 196, 51. See
=Mas=.
=mestoret=, V, 80, 42: needed.
=met=, I, 324, 3; IV, 455, 4; V, 195, 9: mat, may. See =mat=.
=met=, _pret._ of mete, III, 60, 73: measured. _p. p._ met, mete, III,
60, 72; 203, 17; IV, 465, 23; 467, 13.
=methe=, meat.
=mett=, meet.
=met-yard=, III, 105, 27: measuring-rod.
=mey=, V, 161, 9: maid. See =may=.
=meynë=, III, 27, 96; 58, 31; 61, 95, 97; 76, 419: retinue, suite,
household, company, body of people. See =menë=.
=meythe=, III, 112, 59: might.
=micht=, _v._, V, 299, 4: might.
=micht’ll=, might well.
=mickle=, great, much. See =meikle=.
=midder=, =mideer=, mother.
=middle-earth=, =medill-erthe=, I, 327, 27; II, 59, 25: (A.S.
middangeard, middaneard), earth (conceived as being the middle of the
universe; see miðgarðr in Vigfusson).
=middle stream=, III, 125, 19: middle of the stream.
=middle waist=, IV, 523, 6: middle of his waist.
=mid-larf=, crowing a, II, 230, 5, 8: corrupt (changed by Scott to
merry midnight). Taking into account the young cock crew i the merry
Linkem, II, 239, =B= 4, midlarf may stand for some locality (suggestion
of Professor Kittredge).
=might be===was, III, 452, 10. See =may=, =can=.
=mild=, maidens mild, II, 312, 1; 314, =C= 1, =D= 1; 316, 1: meek,
gentle, demure. So Mild Mary, II, 315, =E= 7; Mary(-ie) Mild, III,
395, =M= 1, 3; 396, =N= 1; 398 a, =c= 4; Mary Mile, III, 386, 5, 6, 8.
Corrupted to Moil, IV, 507 b, =S= 2; Miles, IV, 511 a, 5. myld(e) Mary,
of the Virgin, III, 97, 7, 17; 98, 35: lenient, compassionate. myld
myȝth, V, 283, 13.
=milk-dey=, IV, 262, 26; 524, 6: dairy-woman.
=mill=, =mille=, IV, 503, 13; 505, 45; V, 221, 15, 16; 224, 25: mile.
=millaine=, I, 286, 42, 45: of Milan steel. See =myllan=.
=mill-capon=, II, 477 b, =D= 27: a poor person who asks charity at
mills from those who have grain grinding, the alms usually given being
a gowpen, or handful, of meal.
=millering=, II, 467, 42: waste meal, sweepings of a mill (dust [which]
lyes in the mill, II, 470, 43).
=mill-town=, =mill-toun=, II, 471, 18; V, 238, 29: miller’s steading or
place.
=miln=, I, 18, 11: mill.
=milner=, =mylner=, III, 85, 4; 360, 111: miller.
=min.= See =mind=.
=mind=, II, 216, 12, 15; 218, 13, 16: recollection. her mind she
keeped, II, 72, 13: did not forget what she had promised. for changing
o her min, 81, 32: seems to mean, lest she should change her mind; but
the sense is not striking.
=mind.= mind o, on, I, 481, 26; IV, 194, 16, 9; 195, 15; 196, 17; 197,
17, etc.: remember. _pret._ mind, I, 183, 30. mind of, on, mind to, I,
470, 16; IV, 403 f., 14, 28; 437, 24: remind of. he mind’t him on, V,
18, 5: remembered.
=minde=, ffor the maydens loue that I haue most minde, II, 58, 5:
elliptical or corrupt. Comparing 59, 24 (where the MS. reads, wrongly,
most meed) we see that _for_ is not to be taken with _minde_. We must
understand _most in mind_ or _most mind to_ or _of_, or, possibly,
_minde_ may be (from minnen, remember) _had in mind_.
=minge= (A. S. myndgian), III, 355, 6; 362, 72: utter. minged, II, 59,
21: didst name the name of, mention (or, perhaps, only bore in mind).
myn, III, 358, 72.
=minikin=, V, 201 b: little, pretty little.
=minion=, I, 284, 12: dainty.
=minnie=, =minny=, II, 473, 16, 17; IV, 69, 16; 294, =C= 9, 10; V, 115,
9: mother. IV, 6, 15; V, 250, 14: dam.
=mint to=, II, 469, 31; IV, 493, 20; V, 28, 67; 238, 21: put out the
hand towards, move towards. minted as, V, 9, 7: took a direction as if,
made as if.
=mire=, =myre=, I, 428, 13, 14; 429, 7, 8; III, 475 b: swamp, bog. mire
an moss, bog, an miery hole, IV, 22, 12; cf. 184, 5.
=mirk=, =myrke=, =mark=, I, 326, 16; IV, 517, 14: dark.
=Mirry-land toune=, III, 244, =B= 1: probably a corruption of the
_merry Lincoln_ of =A= 16, 17; 246, =D= 1; 251, =L= 1.
=miscarry me=, IV, 267, 11: get me into trouble; fail, disappoint me
(?).
=misgae=, misgave.
=misgiding=, V, 117, 15: ill treatment.
=misguide=, =misgiding=, V, 117, 15; 119, 15: ill treatment.
=miss=, _n._, IV, 317, =E= 5; 325, =C= 5, =D= 3: mistress, whore.
=miss=, _n._, II, 465, 4: wrong or injury.
=miss=(=e=), _v._, I, 210, 12: omit, fail. miss your Wanton slack, IV,
22, 10, 12: fail to keep him tightly reined (?).
=mis-sworn=, I, 395, =C= 5: mansworn, perjured.
=mister=, =myster=, III, 450 a; IV, 268, 26; 464, 15: need,
requirement, an exigency. misters, III, 164, 90: sorts of.
=mistkane=, I, 105 a, 18, if not miswritten, seems to be simply a
phonetic variation of mistane.
=mith=, =mithe=, _n._, I, 334, 6, 7, 11: might.
=mith=, =mithe=, _v._, II, 139, 10; IV, 493, 19: might. mith slain, II,
165, 23: might [have] slain.
=mode=, I, 328, 47: spirit.
=modther=, IV, 260, 3, 7: mother.
=mody=, =mudie=, I, 334, 10: proud, high-spirited.
=mold=, =molde=, mane of molde, I, 327, 20: earth. ouer the mold, into
the Scottish mold, I, 433, 21, 23: land, country. I, 434, 37; II, 246,
7: ground.
=Moll Syms=, I, 126, 13; IV, 448, 7: a well-known dance tune of the
sixteenth century.
=mome=, III, 352, 7: dolt.
=monand=, _n._, II, 87, 36: moaning.
=mone=, I, 326, 1: moan, lamentation, complaint. See =meen=.
=monie=, IV, 437, 2: menie, company, suite. See =menë=.
=montenans.= See =mountnaunce=.
=monty=, IV, 42 a, note §: staircase. (Fr. montée.)
=mood=, giue me, III, 105, 23: though _give me my God_ looks like a
bold change, it is not improbable. We have, yeve me my savyour, in the
Romaunt of the Rose, 6436, le cors nostre Seigneur, 12105, Michel. And
again: For it was about Easter, at what times maidens gadded abrode,
after they had taken their Maker, as they call it. Wilson, Arte of
Logike, fol. 84 b. “In 1452 John Bulstone (of Norwich) bequeathed to
the church of Hempstede ‘j pyxte, to putte owre lord god in.’” Academy,
XL, 174. (These last two citations furnished by Prof. J. M. Manly.)
Again, the Breton ballad, Ervoan Camus, Revue Celtique, II, 496, st. 6,
has ‘she has received my God.’ (Dr F. N. Robinson.) See V, 297 a.
=moody-hill=, =moudie-hill=, =mould-hill=, IV, 148 f., 48; 150, =g=,
=h= 48: mole-hill.
=mool=, =mools=. See =moul=.
=morn=, morrow. the morn, III, 480, 18; 482, 14; 488, 19; 489, 11; IV,
517, 18: to-morrow. the morn’s morning, IV, 373, 8.
=mornin’s gift=, =morning gift=, II, 132, 32; 135, 28: gift made the
morning after marriage.
=mort=, III, 307, 8; IV, 26, 8: note on the horn to announce the death
of deer.
=mose-water.= See =moss-water=.
=moss=, =muss=, =mose=, I, 78, 32; 99, 6; III, 4, 3, 48; 440, 10; IV,
443 f., 6, 19; 445, 8: bog.
=moss-water=, =mose-water=, II, 193, 21; 195, 33; V, 224, 19: water of
a peat-bog.
=most=, I, 328, 50: greatest.
=mostly=, =maistly=, IV, 242 b: almost.
=mot=, I, 473, 5: must.
=mot=, =mote=, I, 333, 2; III, 7, 9; 68, 243; 75, 394; 113, 81; IV,
137, 29; V, 82, 25, 27; 83, 44, 50, 53; 283, 3: may.
=mote=, III, 68, 253: meeting.
=moten=, molten.
=mothe=, =mouthe=, I, 334, 4, 6: for meahte (mohte), might.
=mother-in-law=, II, 71, 11; 72 f., 14, 15: stepmother.
=mother-naked=, I, 344, 33: naked as in, or coming from, the womb.
=mothly=, III, 148, 27: motley.
=motion=, III, 216, 38: =proposal=.
=mou=, =moue=, =mow=, I, 302, =B= 8; III, 149, 34; IV, 277, 10; V, 115,
9; 268, 18; 269, 13: =mouth=.
=moudie-hill.= See =moody-hill=.
=moue=, I, 16, =C= 15: put up in ricks.
=mought=, V, 76, 28; 83, =b= 25, etc.: mote, may. III, 30, 98: might,
were able.
=moul=, =mouls=, =mool=, =mools=, IV, 329, =A b=, after 16; 330, =D d=
20: mould, dust, ashes (of the dead). I, 184, 10; II, 233, 6; 429, 6;
IV, 492, 6; V, 210, 10: earth of a grave. See meal, II, 230, 14, 15.
=mould-hill.= See =moody-hill=.
=mould-warpe=, III, 420, 20: mole.
=mountnaunce=, =montenans=, I, 327, 31; III, 64, 168: =amount=.
=mouthe.= See =mothe=.
=mow=, III, 149, 34: seems to be meant for mouth (lip). But perhaps we
may understand grimace (for a tyrant to make faces at). See =mou=.
=mow=, =mows,= IV, 224, 22; 225, 20: jest.
=moyen=, IV, 42 a, note: =means=.
=mucell.= See =muckle=.
=muck=, IV, 323, 6: dung.
=muck the byre=, IV, 293, 9; 294, =C= 9, 10; 295, =D= 9; 297, 9: carry
out dung from the cow-house.
=muckle=, =mukle=, =mucell=, =meikle=, IV, 398, 6; 494, 33: big. IV,
399, 40; V, 271, 13: much.
=mudie=, III, 434, 27, 28: bold. See =mody=.
=muir=, moor.
=mullertd=, IV, 86, 12: miller.
=mun=, =maun=, =man=, II, 59, 20; 314, 28; IV, 343, 6: must.
=mune=, moon.
=munt=, I, 304, =E= 2: come to, make out.
=mure=, V, 202 b: moor, heath (?).
=muss=, III, 4, 3, 4, 8: moss, bog. See =moss=.
=myght=, welcome myght thou be, III, 65, 177: Old Eng. _2d pers. pres.
ind._ == mayst.
=myght neuer no tyme to sleepe=, III, 77, 441: probably corrupt, and to
be read, no tymë slepe; but the construction is not unknown.
=myȝth=, _n._, V, 283, 13: might, power.
=myld=, =mylde=. See =mild=.
=myle=, two myle way, III, 64, 168: the time it takes to go two miles.
=myllan=, III, 309, 31: Milan steel. See =millaine=.
=mylner=, =milner,= III, 81, 4; 97, 8: =miller=.
=myn=, III, 358, 72: say. See =minge=.
=myneyeple=, III, 308, 30: corruption of manople, a gauntlet protecting
the hand and the whole forearm (?). Skeat.
=myre.= See =mire=.
=myrke=, =mirk=, =mark=, I, 327, 30: dark.
=myrri=, =myrry=. See =mery=.
=myrthës= can, III, 66, 210: knows pleasant stories.
=mysaunter=, III, 13, 10: =mischance=.
=myster=, III, 68, 244: need, occasion. See =mister=.
=mystery=, =mysterie=, III, 495, =B b=, after 7; IV, 517, 15: craft.
N
=n=, carried on from preceding word to following. noo nother, no noder,
III, 81, 58; 100, 80: none other. a nother, nether, III, 80, 200; V,
247, 9: an other. a naughtless, noughtless, IV, 286, 12; 287, 5: an
aughtless, good for nought. a noke, V, 81, 45: an oke. they nere, they
nee, III, 112, 50; 204, =b= 31: theyn ere, thyn ee. my nane, I, 469, 29
(but nane should probably be name). So, his nawn, her nain (nen), yer
nane, as if from hisn, hern, yern, I, 469, 28; III, 269, 1; IV, 132,
13; V, 224, 24. In, an oute-horne, III, 30, 87, n seems to have been
carried back, from noute (see V, 297 a). n in nant, III, 35, 24, 31, is
an arbitrary prosthesis.
=na=, =nae=, no, not: I, 68 f., 12, 22, 31, 44, 51; 107, 3, 8; 310, 9,
11, 13; V, 260, 16. Frequently united with the preceding verb. hadna,
I, 343, 5, 18. winna, 354, 27. canno, 368 f., 35, 37, 39. coudna,
369, 51. wadna, 394, 9, 11. shanae, 394, =B= 1. woudna, 396, 23, 26.
shoudna, 396, 27. didna, 397, 12. kensnae, 466, 13. wasnae, 467, 34,
etc., etc.
=naesaid=, IV, 371, 7: =refused=.
=nags=, =naggs=, =nogs=, III, 480, 11; 481, 8; 484 a, 11: notches,
nicks.
=nain=, own. See =n=.
=nane=, =nen=, yer nane, my nane, etc.: own. (n, originally, carried on
from mine.) See =n=.
=nane=, =neen=, none. I, 16, 6; 309, 12; II, 108, 13; 129, 16; 425, 3:
adverbially, not, not at all. See =none=.
=nant=, III, 35, 24, 31: aunt.
=naow=, V, 304, 5, 12, 14: now.
=napkin (-ken, -kain)=, I, 395, 9, 14: neckerchief. II, 108, 3; 158 f.,
5, 8; 160, 4, 7; 163, 4, 6: pocket handkerchief. pocket-napkin, IV,
468, 2.
=nappy=, V, 84, 13 (of ale): strong.
=naps=, naps of gold were bobbing bonnie, IV, 295, 8, 9: knobs, balls,
mentioned as ornaments to gloves, II, 133, =D= 6, golden-knobbed
gloves; 134, 8, 13, siller-knapped gloves.
=napskape=, =knapscap=, IV, 7, 35; V, 251, 31: head-piece.
=nar= = nor, with comparative, for _than_: III, 112 f., 57, 69; V, 78
f., 12, 18. See =nor=.
=nas=, I, 244, 15: ne was, was not.
=naught=, V, 102, =A= 13: naughtiness.
=naughtless=, a naughtless lord, IV, 287, 5; a noughtless heir, 286,
12: an aughtless, oughtless, good-for-naught, impotent.
=naughty=, V, 267, 13: good-for-naught.
=naur=, II, 62 a, 15: near, or nearer.
=naw= = na = no.
=naw=, IV, 442, 2: nay. V, 296, a: not.
=nawn=, own. See =n=.
=naye=, withowghten naye, III, 296, 18: undeniably, truly.
=ne=, III, 349, 46; V, 272 b, 5, 6; 273, 16: no. III, 62, 128: not.
=ne=, stand ye nè aw, III, 350, 53: misprint (in original); =g=, stand
in no awe.
=nean=, V, 219, 27; 220, 1; 257, 11: none.
=near=, =neare=, =ner=, =nere=, I, 101, 19; II, 183, 30; 191, 37; III,
62, 119; 111, 46; V, 224, 28: nearer.
=near=, IV, 446, 14^4; 447, 14^4: corrupt, as the repetition from the
second verse shows; _while_ (till) _my days are near_ (to an end) would
be extremely forced, in any case.
=near=, =neer=, never.
=near-hand=, _adj._, IV, 197, 4, 5: near, short. _adv._, III, 161, 36;
IV, 222, 8 (near-han): near, almost.
=neast=, =neist=, =nist=, =nest=, V, 117, =A= 7; 216 f., 1, 5, 7, 10,
18; 242 a, 10, 12: next.
=neathing=, nothing.
=neave=, III, 123, 16, 20: fist.
=neb=, I, 425, =A= 16: beak.
=nee=, III, 422, 67: nigh.
=needle-tack=, II, 217, 5: fastening or stitch with a needle.
=neen=, none. See =nane=.
=neen nae=, II, 318 b, 4: need na, need not.
=neerice=, nurse. See =nourice=.
=neeze=, V, 222 b, 26: sneeze, snort.
=neigh=, _v._, II, 54, 54, 55: nigh, approach.
=neis=, I, 302, =B= 8; IV, 247, =B= 12: nose.
=neist=, =niest=, I, 223, 9; 314, 5; 419 f., 1, 3, etc.: next.
=nelle=, V, 284, 22: ne will, will not.
=nen=, her nen, V, 224, 24: own. See =nane=.
=ner=, =nere=, III, 62, 119; 111, 46: nearer. See =near=.
=nere=, III, 113, 75: were [it] not.
=nere=, they nere, III, 112, 50: theyn ere, thine ear.
=neshe=, III, 445, 31: of delicate quality.
=nest=, next. See =neast=.
=nettle-dyke=, II, 463, 22: wall with nettles growing on it, or near
it. Cf. II, 467, 40; 469, 42.
=neuk=, coat-neuk, II, 107, 4, 5: nook, corner.
=new-fangle=, I, 272, 9: fond of novelties, capricious, inconstant.
=next=, I, 412, 27; II, 45, 30, 34: nighest.
=nextand=, II, 94, 6. See =-an=.
=neys=, V, 80, 39: nice (ironically).
=nicher=, =nicker=, _n._ and _v._, III, 370, 10; IV, 18, 15; 19, 13;
20, 10; 21, 11: neigh.
=nicht=, the, to-night.
=nicked him of naye=, II, 52, 12; nickd them wi nae (nay), V, 182 f.,
12, 30 (clearly borrowed from the above in Percy’s Reliques): refused
with nay.
=nicker.= See =nicher=.
=nick-nack=, playd nick-nack on the wa, V, 123, 16; 124, =B= 14: to
express the sound of successive collisions.
=niddart=, niddart ither wi lang braid-swords, II, 422, 49: thrust at.
Jamieson, pressed hard upon. Correspondents from the North of Scotland
say, notched, slashed.
=nie=, III, 473, 27: neigh.
=nie=, =neigh=, nigh.
=niest=, I, 15, =B= 3; 147, 5: next, nearest. come niest, IV, 485, 30:
nigh to. See =neist=.
=niffer=, _n._ and _v._, I, 203, =C= 10, 15; IV, 406, 24: exchange.
=night-coif=, III, 514, 3; 515, 1; V, 225, 4: night-cap.
=night-wake=, IV, 453, 3, 4: night-watch, as of a dead body, perhaps a
corruption of _lyke-wake_.
=nimble=, =nimle=, wrongly for thimble, thimber, I, 332, =E= 2, =F= 2,
=G= 2.
=nine=, the, III, 392, 8: the nine justices of the supreme criminal
court of Scotland. Kinloch, A. S. B., p. 259.
=ning=, V, 165 f., 4, 12: nine. nine, 111, 26, is changed from ninge.
In the older stages of the language, remarks Dr. Murray (Dialect of the
Southern Counties of Scotland, p. 125), ng was often written for Latin
gn, and vestiges of this substitution of the nasal for the liquid n are
still found in the spoken dialect.
=nip=, III, 160, 18, 19: bit.
=nires=, =norice=, nurse. See =nourice=.
=nist=, =nest=, =neast=, V, 216, 10; 242 a, 10, 12: next.
=nit=, III, 465, 20: knit, fasten.
=nit=, I, 450, 2-4: nut.
=nit-broun=, IV, 469, 7; 470, 23, 29, etc.: nut-brown.
=no=, I, 86, 13; 100, 10; 108, 6, 8; 135, =P= 8, 10; II, 218, 12; 222,
19; III, 465, 32: not.
=noble=, =nobellys=, III, 113, 81; 126, 39; 201, 29: a gold coin of
the value of one third of a pound. (Fifteen score nobles is of course
exactly an hundred pound.) == 20 groats, V, 76 f., 18, 19, etc.
=nocked=, III, 82, 132; 86, 132: notched.
=noder=, =nother=, III, 81, 58; 100, 80, no noder, noo nother=none
other. See =n=.
=nog.= See =nags=.
=noghte=, not.
=nolt=, =nout=, V, 249, 4: neat, neat-cattle.
=nom=, III, 51 b, 13-15: take.
=none=, _adv._, II, 361, 24; V, 295, 1: not at all. See =nane=.
=none of=, none of my brother, II, 11, 3, 5, 7: not at all my brother.
=noo=, V, 307, 11: now.
=noorice.= See nourice.
=nor=, =nar=, after a comparative, I, 5, =C= 9-18; II, 134 f., 15, 29;
268, 21; 374, 13; 409, 19; IV, 166, 12; V, 184, 49: than. nor be, II,
97, 22: than to be (if liker means more likely). too gude nor ever woud
make a lie, II, 372, 26: better than, too good, to make. I doubt not
nor she be, II, 390, 23,=je ne doute pas qu’elle ne soit.
=not=, IV, 331 b, 8: misprint for _out_.
=note=, =notte=, V, 283, 9, 19: nut.
=note=, III, 512, =E= 6: corrupt (_nut_ in =F= 7). Some impossibility
is required.
=noth=, =nothe=, I, 334, 7, 8: not.
=nother.= See =noder=.
=noughtless=, =naughtless=, IV, 286, 12; 287, 5: a noughtless==an
oughtless, good-for-nothing, impotent.
=noumbles=, =nowmbles=, noumbles of the dere, of a do, III, 58, 32; 64,
172: frequently defined entrails; Palsgrave, praecordia, the numbles,
as the heart, the splene, the lunges, and lyver. At least a part of the
noumbles are the two muscles of the interior of the thighs of a deer:
venatores nombles vocant frustum carnis cervinae sectum inter femora
(Ducange). See the elaborate directions for breaking or undoing deer in
Juliana Barnes’s Boke of Huntynge, and in Madden, Sir Gawayne and the
Grene Knyȝt, vv. 1344-48 especially.
=nourice=, =nourrice=, =noorice=, =nourry=, =nurice=, =nurische=,
=nury=, II, 322, 6, 13-17; 333, 5-7; III, 433, =C= 7; IV, 31, 7; 32, 3;
480, 5, 10, etc.: nurse.
=nout=, =nolt=, III, 460, 25, 36; IV, 246, 13; V, 116, 1: neat cattle.
=noute-horne=, a, III, 26, 87: horn of neat, ox, cow (wrongly
substituted for, an oute-horne; see V, 297).
=nouthe=, I, 334, 5: not.
=nouther=, IV, 219, 8: neither.
=now=, V, 78 f., 5, 24, 25: new.
=noy=, I, 217, 7, 12: grief.
=nul=, =nule=, I, 244, 11, 13: will not.
=nume=, _pret._, III, 355, 4: took.
=nurice.= See =nourice=.
=nurische=, IV, 28 a, 29 a: nurse. See =nourice=.
=nury.= See =nourice=.
=nyghtgales=, I, 327, 33: nightingales.
=nyll=, II, 478, 4: will not.
O
=O=, brighter O shall, IV, 170, =G= 10: heard for _rose_. For _rose_
(which the last letter of _brighter_, the _o_, and the first letter of
_shall_ make) cf. 167, 17; 169, 14; 175, =M= 11.
=o= = of. diel o there, III, 488, 26: devil (i. e. not a bit) of
anything in that way (?) (devil be there, 489, 43).
=o= = on: I, 232, =A= 2; II, 375, 15, 16; III, 488 f., 23, 39, 45; IV,
84, 19.
=ochanie=, =och how=, IV, 103, 14; III, 392, 11: interjections of
sorrow.
=ocht=, IV, 230, 1: aught.
=ochree.= See =ohon=.
=of= = on: I, 284, 14, 16; II, 59, 23; 452, 5; III, 105, 19; 309, 46
(on, 45, vppone, 42); 355, 8; 359, 89; 464, 2; IV, 503, 20. beate of
mee, II, 54, 53 (?). In, put of the pot, put of the pan, II, 118, 8,
_of_ is perhaps simply an error of the scribe; we have, put on, 119, 5,
6. In, seruyd (q. v.) hi_m_ of bred, I, 241, 1, _for_ is required, and
_of_, which would signify _with_, cannot stand.
=officier=, V, 155, D 2: officer.
=oȝaines=, I, 192 a: against, towards.
=oger=, I, 202, 1: auger.
=ohon ochree=, III, 390, 13: exclamation of sorrow.
=okerer=, III, 58, 46: usurer.
=old=, =auld=, old (auld) son, of babe just born, II, 95, 11, 12; 105,
7; 107, 4, 5, 6, 17: called young son, II, 104, 12, 15; 106, 8, 10,
18, and, at II, 95, immediately after, 13, 14. See =auld son=. old
daughter, II, 382, 1; 387, 1; 388, 15: oldest. old sister, I, 175, =D=
8: one older than a second sister.
=old=, =auld=, in your fifteen year old, I, 115, 13; in fifteen years
old, I, 116, 13: of age. See =aull=, =auld=.
=on= = of: III, 93, 38; 132, 3; 231, 84; 296, 20; 308, 13.
=on= = one: V, 78 f., 7, 26, 28; 80, 52. on for on, III, 308, 21.
=on=, wedded on, I, 146, 24; married on, I, 497, 22: on the strength of
(to have as a dowry).
=on ane=, I, 334, 6: anon.
=on fere=, III, 98, 38: in company.
=on o= = on (on upon?): III, 349, 38 (calld on o); 488, 25, 27; IV,
470, 18; 517, 9. (cald of, IV, 503, 20.)
=onbred=, I, 415 b: incompletely grown.
=one=, I, 104, 6; II, 45, 28: a. of one, I, 104, 6^2 should have been
retained (=on a).
=one=, on.
=onë=, =ony=, =onie=, II, 58, 3: any.
=ones=, =onys=, III, 98, 23: once.
=onfowghten=, III, 297, 41: unfought, without fighting.
=onlouping=, III, 449 b: mounting (of a horse).
=onthought lang=, I, 478 f., 13, 47: without wearying, entertained. See
=unthought lang=, =thinke lang=.
=ony=, =onie=, =onë=, any.
=oor=, I, 133, =M= 6: hour.
=or=, I, 285, 33; 294, 10; 328, 35; 411, 17; II, 22, 13; 105, 8:
before. or eir, II, 21, =A= 9: or or (doubling of before).
=or=, II, 166, 27: than.
=order=, =ordre=, III, 66, 197, 198: rule of an order.
=ordered=, II, 257, 9: taken order for, made arrangements for.
=orders=, III, 286, 44: prepares.
=ordeyn=, III, 72, 326: give order for, levy.
=orghie=, IV, 513, H 2^4 (to be supplied): orgeis, a fish, large kind
of ling. See V, 299 b, note on No 178.
=orlange=, II, 61, 8, 9, 12: perversion of eldrige.
=orless=, I, 141 b, =S=: emended to unless.
=orpharë=, I, 326, 9: orfevrie, goldsmith’s work.
=osterne=, III, 412, 27: austere. See =austerne=.
=ostler=, V, 155, =C= 4, =D= 2: innkeeper.
=ostler-ha=, III, 270, 6: ostler-house, hostelry, inn.
=ostler-house=, III, 268, 4, 6, 8; 269, 4-6: hostelry.
=other=, _pl._, III, 298, 66; 335 b.
=ottraunce=, at, III, 90 b: to the utterance, extremity, death.
=ought=, I, 294, 12: am under obligation. _pret._ and _p. p._ III, 228,
9; 431, 30: owed.
=ould=, IV, 456, 9; V, 199 b, 35: would.
=our=, =owr=, =ower=, over, too.
=oure=, _prep._, over. See =ower=.
=ousen=, =owsen=, =owsn=, II, 192, 6: oxen.
=out=, he slew out, II, 383, 25; beat out, III, 151, =A= 4, =B= 4: out
and out. fight ye all out, IV, 173, 6: through, to the last.
=out into=, I, 115, =B= 2: from within.
=out of hand=, II, 321, 3; III, 440, 25: forthwith.
=out the gate=, =way=, IV, 470, 21; 477, 12: along the way.
=outehorne=, III, 26, 87 (the original and popular reading): here, a
horn blown to call out citizens to the support of the civil authority.
See Spelman’s Glossary, 1687, p. 441. Cf. V, 297 a.
=outlyer=, I, 175 f., =D= 3, 9, 15, 21: one who lives away from men, in
the woods, banished man, outlaw.
=out make= I, 61, =C c= 5: make out.
=outmet=, _p. p._, III, 29, 158: measured out.
=out-oer=, =-our=(=e=), =-ower=, =-owre=, =-over=, I, 246, 13, 14; II,
256, =K= 1; III, 6, 19; 7, 17; 270, 13, 17: over, above. heirs out ower
a’ my land, II, 176, =C= 8. leand himsel outowre a tree, III, 270, =D=
8. the flower out ower (owr) them a’, II, 256, =L= 1; III, 246, =D= 7.
out oer her, IV, 224, 19, should perhaps be, out o’ her.
=outrake=, III, 413, 32: excursion, outing.
=outside=, =outsyde=, II, 444, 43; 449, 48: place apart, retired.
=outspeckle=, IV, 7, 30; V, 250, 27: laughing-stock.
=outthro=, IV, 445, 20: through to the opposite side.
=outwood=, III, 179, 8: wood outside (of a town?).
=ouer all=, III, 28, 141: everywhere.
=ouer goddes forbode=, =forbott=. See =forbode=.
=ouer-by-gone=, I, 326, 8: covered, set.
=overthrew us=, V, 134, 8: threw us over.
=o-vour=, II, 25, =F= 13: half owre, half way over.
=ower=, =owre=, =oure=, I, 16, =C= 17; 80, 1: over. ower (a window):
over against.
=ower=, =owr=, our, over, too.
=owerturn=, =owreturn=, I, 332, =E=, =F= 7; III, 10, 21: refrain. See
=owerword=.
=owes=, who, IV, 205, 27: owns, whose is (who owns==wha’s aucht).
=owerword=, =owre-word=, =oerword=, II, 254, 8, 9; 363, 14; IV, 7,
28; 482 f., 8, 11: refrain (word frequently repeated), call, cry. See
=owerturn=.
=owre=, II, 20, 8: or, before.
=owsn=, =owsen=, =ousen=, I, 465, 2; II, 175, 7, 8; 176, 8, 9; 192, 6;
194, 10; IV, 12, =C= 8; 27, 20: oxen.
=owthe=, III, 112, 51: out.
=owtlay=, III, 99, 43: outlaw.
=oxe-lig=, ox-leg.
=oxtere=, IV, 506, 6: (A. S. óhsta) arm-pit.
=oyes=, II, 315, 11; V, 229, 37: grandsons.
=oysyd thare trawale=, III, 41 a: used, carried on their operations.
P
=pa=, paw.
=pa.= See =palle=.
=Pa=, III, 244, =B= 1: unintelligible and doubtless corrupt. Percy,
who supposed that Mirryland toune might be corrupted from Milan, Germ.
Mailand, understands Po, although, as he observes, the Adige, not the
Po, runs through Milan.
=pack=, IV, 69, 12: familiar.
=pad=, V, 114, 1: (in canting language) highway.
=pae=, I, 333, 3: peacock.
=pakets=, V, 165, 6: pockets. (V, 306, 9, has _pouches_.)
=pale= (of a puncheon), II, 81, 45: tap, spigot.
=pale=, and the covring that these lovers had was the clouted cloak an
pale, I, 305, 12: a derivation from Lat. pallium, coverlet, cloak, O.
Fr. paile, palle, has been suggested, and as to meaning would suit;
but if the word were popular it should be heard of elsewhere. Possibly
an error for fale, turf, which is the bed-covering in =F= 6, p. 304;
though the combination with cloak would be strange.
=palle=, =pale=, =paule=, =pa=, I, 68, 7; 333, 1; II, 139, 4; 256, =L=
4; 259, =A a= 3, =b= 3, =C c= 3; 483, 5: fine cloth.
=pallions=, III, 300, 15; IV, 500, 16: pavilions.
=palmer=, I, 232, 3-5, 12, =B= 1; 284, 8: pilgrim. III, 3, 10, 11; 4,
4, 5; 180, =B= 8; 186, 10, 11, 17; 189, =A= 8, =B= 3; IV, 445, 3, 4,
20; V, 16, 9, 17: tramp, vagabond, beggar.
=pannells=, V, 86, 29: riding-pads or cushions.
=papeioyes=, I, 328, 33: popinjays.
=paramour=, I, 68, 4; 70, 4: in =A= 4, the word, coming between
bouted flour and baken bread, should signify something eatable; =B=
has attempted to make easy sense by inserting the. Paramour as lover,
lady-love, in the honest sense occurs II, 86, 19, 21; 412, 2; V, 182,
7. the love was like paramour, II, 407, 8: like amorous passion (?).
Quite unintelligible in II, 409, 4, a red rose flower, was set about
with white lilies, like to the paramour; again, 410, 2.
=parand=, =heir and parand=, II, 447, 2, 4: parand, in 4, might appear
to be meant for apparent, but we have his parand and his heir, in 2.
There is more ignorance of the meaning of words in the piece.
=pardon=, I, 411, 8: leave of absence.
=part=, God, Christ haue part(e) of the (me), III, 58, 39; 329, 8:
perhaps, make me an object of his care (as prendre part en==take an
interest in); or, take me for his, number me among the saved.
=part=, part the quick, II, 231, 9; parte our company, III, 71, 307:
quit, part from.
=partakers=, III, 138, 7, 8: helpers.
=parti=, vppone a parti, III, 308, 19: aside. March-parti, III, 310,
58: Border-side. Marche-partes, III, 310, 67.
=party=, nane to party me, V, 127, 19: be of part with.
=Pasch=, =Pasche=, II, 146, 9; 147, 7: Easter.
=pass for=, III, 138, 15: care for.
=passe vppon=, V, 51, 67: pass, go, on.
=passe=, III, 73, 357: extent? In 84, 357, and 88, 357, the reading is,
compasse.
=passage=, IV, 515, 1: occurrence, incident, adventure.
=passilodion=, V, 71 b; 72 a: a drinking-word.
=passments=, IV, 343, 4: laces, trimmings for dresses.
=pat=, pot.
=pat=, =patt=, =paut=, I, 396, 20; II, 123, 29: strike the ground with
the feet, stamp. pat the ball, III, 251, =L= 1, 2: kick. patted wi her
lips, II, 83 a: struck together, smacked (?).
=pat=, =patt=, _pret._ of pit, put, I, 107, 7; 465, 2, 3; V, 218, 2.
=pat-fit=, I, 302, =B= 8: pot-foot.
=paughty=, II, 364, 21: haughty, malapert.
=pauky=, V, 115, 1: sly.
=pautit=, I, 397, =D= 9, 11: patted, struck with the foot, stamped. See
=pat=.
=pavag=, =pauage=, =pawage=, III, 109 f., 5, 11-13: Fr. pavage,
road-tax. See =Ducange=, =pavagium=. (passage, III, 114 f., 130, 180,
181, etc.)
=paw=, a slight motion. neer played paw, III, 480, 14: never stirred
again.
=pay=, _n._, I, 285, 32; III, 28, 128; 59, 66: satisfaction.
=pay=, =paye=, _v._, I, 328, 37; II, 478, 12: satisfy, please.
=pay=, III, 142, 36; 161, 26; V, 105, =A= 5, 6; 106, =E= 6: beat.
=payetrelle=, I, 326, 9: poitrail, part of the harness on the breast of
a horse.
=payrelde=, =parelde=, I, 327, 16, 17: apparelled.
=peak=, pick.
=peak=, peck.
=peak-staff=, pike-staff.
=pean-kniff=, pen-knife.
=pear=, =peare=, V, 110 f., 2, 4, 6, etc.: poor.
=pearled=, apron, IV, 67, 12: bordered or trimmed with lace.
=pearlin=, =pearlins=, III, 9 f., 6, 14; IV, 448 a, 2d line: pearls.
=pearling=, =pearlin=, II, 323, 6; IV, 326, 16: lace.
=pearting=, parting, separation.
=peat=, I’se gar ye dance upon a peat, V, 104 b (a threat): on a
(burning) peat, make it hot for you.
=pecis=, III, 65, 175: vessels (of silver), probably cups.
=peed=, IV, 316, 14: pu’d, pulled.
=peel=, I, 403, 9: pool.
=peel=, a tower, stronghold; climbing the peel seems inappropriate
at IV, 6, 4; V, 249, 4, unless the meaning be that the peel was
“ransakled” for valuables (since kye would not be kept in the peel).
=peeped=, V, 10, 3: spoke faintly, whined.
=peerls=, peerls many, IV, 134, 10: poor folk (Chaucer’s poraille). =B=
8, =C= 6, =D= 10, =F= 8, =G= 4, etc., poor folk many.
=peers=, pears.
=peit=, I, 22, 3: a peat carried to school as a contribution to the
firing.
=pellettes=, III, 430, 12: bullets.
=pendles=, IV, 296, 8: pendants, ear-rings.
=penned in=, of windows, II, 330, =G= 3: fastened, perhaps pinned. See
=pin=, _v._
=penny-brown=, III, 281, 10: brown as a penny. penny-gray, III, 281,
8, at best would mean gray as a silver penny; but silver is called
white money. It is just possible that the word is legitimate, and that,
penny-brown being understood as very brown, penny-gray might come into
use for very gray. Possibly penny-brown (gray) might mean dappled with
brown (gray) spots.
=penny-fee=, =-fie=, I, 491, 10; IV, 444, 10: gift of a penny largess,
pour-boire. (I, 490, 6, penny instead of penny-fee.) II, 469, 25, 26:
simply, money.
=peny=, shete a peny, III, 97, 10: shoot for a penny, as 104, 6.
=Perce=, V, 298 a: Persia.
=perelle=, I, 326, 8: pearl.
=perfyte=, II, 72, 4; 75, 6; 78, 8: perfectly.
=pestilett=, III, 430, 11: pistolet.
=petty toes=, I, 133, =L= 9: pettitoes, feet (as in Winter’s Tale, IV,
4), or a play upon words, little toes.
=phat=, III, 318, 8: what.
=philabeg=, IV, 234, 21; 271, 8; V, 266, 8: kilt, skirt worn by
Highlanders, reaching from belly to knee.
=pibrochs=, IV, 298, =G b= 14: bagpipe airs; seems here to be meant for
the pipes.
=pick=, pick a mill, I, 211, =B= 3, 4: sharpen the surface of a
mill-stone when worn smooth by friction. picked a stane, II, 323, 1:
dressed with a pick.
=pick=, =pickle=, I, 16, =C= 14; IV, 481, 5; V, 206 a, 6: a grain.
=pick=, _n._, IV, 2, 12: pitch.
=pick=, =pict=, _v._, 380, 20: pitch (pict, II, 28, 23, may be a
misspelling).
=picke=, III, 358, 77: pitch (throw).
=pickle=, a grain. See =pick=.
=pickle=, II, 147, 12, 14; 476, 16, 17: pick, collect.
=picklory=, III, 132, 4: name of a cloth.
=pickman=, pikeman.
=pict=, _v._, II, 28, 23: pitch (probably a misspelling).
=pig=, I, 305, 5; IV, 206, 9: an earthen vessel, earthen pitcher.
=pig-staves=, V, 213 a, 1: pike-staves.
=pile=, o corn, I, 18, =H= 7: a grain.
=pile=, pile o the gravil green, gray, I, 350, 18, 19; pile that grows
on gravel green, IV, 456, 11, 12: a fibre or blade of some velvety moss
which grows on stones. See =gravil=.
=pilk=, II, 473, 16: pick, collect. See =pickle=.
=pilleurichie.= See =pitleurachie=.
=pin=, =pinn=, an implement for raising the fastening of a door. tirled
the pin, IV, 390, 4; 415, 5. tirled at the pin, I, 470, 23; II, 141,
8; 164, 3; 471, 8; 474, =I= 3, etc. tirled on the pin, II, 461, 11.
thirled at the pin, II, 121, 15. thrild upon a pinn, II, 138, 10, 16.
twirld at the pin, IV, 390, =b= 4. lifted, lifted up the pin, II, 104,
14; IV, 391, 3; 415, 6. “The pin was always inside, hung by a latch, or
leather point, the end of which was drawn through a small hole in the
door to the outside. During the day-time, the pin was attached to a bar
or sneck in such a way that when the latch was pulled the door was free
to open. But at night the pin was disconnected from the door-fastening
and hung loose, so that when the latch was pulled the pin rattled.”
W. Forbes. (See =tirled=.) knocked at the pin, II, 387, 10; 468, 15;
upon a pin, III, 105, 12; rappit at the pin, I, 472, 17; chapped at the
pin, I, 481, 29, are probably corrupted from knocked, etc., at the ring
(and so, tinkled at the pin, II, 253, 3); if not, the meaning must be,
knocked at the door at the place of the latch. that so priuilye knowes
the pinn, I, 433, 25, implies that there was some secret connected with
the pin (like, knew not the gin, IV, 446 b, 3), which it is difficult
to conceive in an arrangement so simple as that described above; but it
is probable that complications were employed by the cautious. See =gin=.
=pin=, =gallows-pin=, =gallou-pine=, I, 146, 25; 150, 17; III, 388,
18; V, 247, 18; hanged them out-oer a pin, III, 268, 18; hang you on a
pin before my door, V, 26, 15: the projecting, or horizontal beam of
the gallows? Any projection upon which a rope could be fastened.
=pin=, _v._, pin my windows in, V, 295, 5, 6: fasten. See =penned=.
=pindee=, II, 326, 2, of windows, pinned-ee for rhyme, or, possibly,
for _in_, as penned in, II, 330, =G= 3.
=pinder=, =pindar=, =pinner=, III, 131 ff., =A= 1-5, etc.; =B= 1-3; II,
484, =C= 6, 7; 491 a, 5, b, 5: pounder.
=pine=, =pyne=, I, 464, 8; 470, 15, 32; 474 f., 36, 41; IV, 430 f., 4,
23; V, 219, 25: suffering, pain. Goddës, Creystys, pyne, III, 75, 391;
V, 79, 18: suffering, distress, passion.
=pine=, I, 453, 3: (pind, poind) distrain, seize.
=piner-pig=, III, 385, 7: an earthen vessel for keeping money.
=pingo=, pingo white, IV, 213, 12: pinkie (?).
=Pinnatree, The Gold=, V, 141 b: name of a ship.
=pinner.= See =pinder=.
=pint=, point.
=Pirie=, in Pirie’s chair you’ll sit, the lowest seat o hell: I, 429,
30, 31. For the derivation Sir W. D. Geddes suggests as possible le
pire, which would be in the way of the Scottish “ill chiel.” Professor
Cappen writes: “Familiar name in doggerel lines recited by boys
in their games. One boy stood back against the wall, another bent
towards him with his head on the pit of the other’s stomach; a third
sat upon the back of the second. The boy whose head was bent down
had to guess how many fingers the rider held up. The first asked the
question in doggerel rhyme in which Pirie, or Pirie’s chair, or hell,
was the doom threatened for a wrong answer. I remember Pirie (pron.
Peerie) distinctly in connection with the doom. Pirie’s chair probably
indicates the uncomfortable position of the second boy (or fourth, for
there may have been a fourth who crouched uncomfortably on the ground
below the boy bending), whose head or neck was confined in some way and
squeezed after a wrong answer.”
=pistol-pece=, III, 432, 9: pistol.
=pit=, I, 86, 31; 467, 17; V, 219, 10: put. pit mee down, II, 131, 4:
be my death. pit back, IV, 510, =W= 3: stop the growth or development
of. _pret._ pat. _p. p._ pitten, putten.
=pith=, hammer o the, II, 374, =B= 2: sounds like nonsense. The smith’s
anvil being of gold and his bellows-cords of silk, his hammer should
be of some precious material. To say his hammer was wielded with force
would be out of keeping, and very flat at best.
=pitleurachie=, =pilleurichie=, III, 320, =A a= 20, =b= 20: hubbub,
discord. See =lierachie=.
=pit-mirk=, III, 495 a, after 7; IV, 517, 14: dark as a pit.
=pitten=, _p. p._ of pit, put, I, 463 f., 2, 14.
=place=, in place, V, 84 f., 10, 25: presence. in place, III, 422, 76:
(means only) there.
=plaet=, _pret._, IV, 465, 40: plaited.
=plaiden=, IV, 257, 3, 5: coarse woollen cloth diagonally woven.
=plain fields=, IV, 432 f., 2, 10, 17, 21: open fields.
=plainsht=, III, 360, 121: plenisht, filled.
=plainstanes=, IV, 152, 5: pavement.
=plaow=, _n._, V, 304, 5, 12: plough.
=plat=, I, 101, 19; II, 285, 20, _pret._ of plet: plaited, interfolded.
=plate-jack=, IV, 147, 22: a defensive upper garment laid with plates.
=platen=, I, 243 f., 8, 11: plates, pieces.
=play-feres=, III, 244, 2, 6; 245, 4, 5: play-fellows.
=plea=, I, 169, 7; II, 282, 2: quarrel.
=plea=, enter plea att my iollye, III, 278, 32. See =enter=.
=plead=, III, 277, 10, 12: contend.
=pleasure=, drink his, V, 307 a, 4: drink as much as he wishes.
=plee=, III, 165, 72: plea (your offer to give up your money is but a
slight ground for a plea to be spared? or a slight argument to enforce
the justification previously attempted?).
=pleuch=, =pleugh=, _n._, II, 190, 9; 194, 10: plough. IV, 196, 19;
197, 19: (of land) plough, which see.
=plewed=, feathers plewed with gold, II, 435, 49: not understood.
=plight= I lay, IV, 433, 21: the pledge I did lay? condition in which I
should lie? (Very obscurely expressed stanza.)
=plight=, _pret._, II, 52, 24; 364, 24; V, 50, 45: plighted.
=plooky=, II, 47, 14: pimpled.
=plough=, =pleugh=, =pleuch=, =plow=, IV, 194, 18, 11; 195, 18; 196,
19; 197, 19; etc. (of land): as much land as one plough will till in a
year.
=plucke=, fyght a plucke, III, 128, 85: (blow, stroke) a bout.
=plucke-buffet=, they shote, III, 77, 424: at taking and giving a
buffet for missing. (This supposes pluck==take, get; it may be the noun
pluck, blow.)
=plummet=, of swords, III, 466, 40: pommel.
=pock=, III, 160, 5, 16; 163, 68, 74, 83: bag.
=pocket-napkin=, IV, 468, 2: pocket-handkerchief.
=poind=, _pret._, =poinded=, _p. p._, II, 429 b, 3; IV, 80 b; IV, 492
a, 3: distrained.
=poll=, lighter than the poll, IV, 434, 1 (not recognized as Scottish
by any of my correspondents): boll, lint-bow, the seed-pod of flax? Not
probable.
=poorly=, IV, 444, 35: feebly. V, 10, 3; 266 b, 2: faint-heartedly.
=portioner=, IV, 81 a: possessor of a part of a property originally
divided among co-heirs. Jamieson.
=portly=, III, 280, 24: of imposing appearance.
=pot=, II, 144 f., 14, 24; 153, 22; 154 f., 17, 31, 34, 35; 474, =J= 6;
IV, 181, 13; 189 f., 7, 22, 28: deep place or pool in a river.
=potewer=, I, 271, 6: read potener, French pautonnière, pouch, purse.
“pawtenere, cassidile.” Prompt. Parv. “Marsupium, a pawtenere, a
powche.... Cassidile est pera aucupis, vel mercipium, vel sacculus,
a pautenier or a pouche. Cassidile dicitur pera ... crumena, etc.
cremena, a pautener.” (Way’s note.)
=pottinger=, IV, 509 b, 13: apothecary.
=pottle=, V, 86, 35: a measure of two quarts.
=pow=, II, 476, 16: head.
=powd=, III, 268, 7: pulled.
=powder=, IV, 514, 17: dust (?).
=power=, above (loved), II, 286, 2: beyond (ordinary) capacity or
intensity.
=powther=, powder.
=prah=, _v._, V, 303 a: pray.
=praise=, III, 204, 29: prize.
=praise=, V, 115, 5:==God.
=praisin=, III, 455, =D= 1: if the line is genuine, all the meaning
praisin can have will be, the laudation of the queen for her generous
behavior.
=pran=, V, 220 f., 6, 7, 9: bran.
=prece=, =prese=, =prees=, III, 24, 36; 67, 218: press, crowd. III, 62,
116: thick of a conflict.
=pree=, I, 81 a: taste. See =prey=.
=preen=, _n._, I, 430, 13: pin.
=preen=, _v._, I, 147, 13; III, 436, 3; V, 105, =B= 7: pin. See =prin=.
=prees=, =prese=. See =prece=.
=preke=, _n._, III, 112, 52. See =pricke=.
=preke=, _v._ See =prekyd=.
=preker=, V, 79, 13: rider.
=prekyd=, =prycked=, V, 78, 6; 80, 40: spurred, rode fast. the hors
prekyd, 80, 42: ran, scampered, sped.
=prese.= See =prece=.
=present=, III, 199, 19: represent, act as representatives of.
=presentting=, wine, IV, 37, 16: holding out the cup or glass towards
the person saluted.
=presently=, III, 400 a (7): at present.
=president=, III, 231, 82: precedent.
=press=, V, 111, 22: closet.
=prest=, the made them prest, III, 111, 45: ready. berdys sang preste,
III, 112, 63: freely, con amore. III, 171, 10: in haste.
=prestly=, III, 27, 113: quickly.
=pretend=, I, 110, 18; V, 57, 66: purpose, design.
=prevayle=, III, 313, 55: avail.
=prey=, II, 490 b, 12-14: (prie, pree) taste.
=price=, III, 358, 63: estimation.
=prick= them to the gin, IV, 480, 4: pin to the fastening.
=prick=(=e=), =pry=(=c=)=ke=, =preke=, rod or wand, used as a mark in
shooting==pricke-wand: 111, 93, 28, 30; 202, 34. he cleffed the preke
on three, III, 112, 52. ‘have at the pryke!’ ‘and Y cleue the styke,’
III, 90 b. a mark or butt generally, III, 29, 145. slise, cleue the
wand==cleffe the preke, III, 70, 292; 75, 401.
=pricked=, _pret._, II, 266, 28: stuck.
=pricke-wande=, III, 93, 31: a rod set up for a mark.
=prickt=, _p. p._, I, 345, =C= 1: prinkt, deckt.
=priefe=, V, 81, 14: prove, experience, enjoy.
=pril=, V, 73 a: a drinking word, to which the response must be wril.
=prime=, =pryme=, I, 254, 9: the first canonical hour.
=prin=, _n._ and _v._, I, 345, =C= 1; 431, 10; II, 109, 17, 19; III,
388, 17; IV, 189, 4, 6; V, 105, =B= 7 (preened): pin.
=prinkling=, II, 386, 20: seems to be used (perhaps an error) for
trinkling, trickling.
=prittle=, I, 59, 15: a doublet of prattle.
=priving=, V, 115, 8: tasting.
=process=, III, 164, 90: occurrences, story of occurrences.
=propine=, I, 79, 24: present, gift. in thy propine, I, 227 b: to be
had by thee as a gift.
=propose=, _n._, V, 207 b, No 5: proposal.
=proselya=, the reef was o the proseyla, I, 333, 5: in other copies the
roof is of beaten gold, the floor of cristal a’. The roof here might be
of proseyl a’, if that would help, but I know no more of proseyl than
of proseyla. The nearest I can come to cristal is, porcelain.
=prossed=, proceed.
=proue=, II, 446, 81: try? Poor sense and no rhyme. The MS. reading is
perhaps praie, which is, however, not preferable. Pross is a northern
word for talk (Halliwell), and the corresponding verb would suit here.
=prowed=, proud.
=Prudents=, I, 471, 2, 4: black people of the Holy Land.
=pruel=, made her heart to pruel, II, 376, 32: to ache or shiver with
fear. (Dr Davidson.) To preel in Aberdeenshire is to cool. (Principal
Barbour.)
=pryce=, III, 63, 137: prize.
=prycke=, _n._ See =pricke=.
=prycked=, as faste as he myght ronne, III, 296, 21: sped; and so V,
80, 42. See =prekyd=.
=pryckynge=, III, 67, 229: spurring, riding briskly, should probably be
rakynge; the yeomen are on foot. Cf. III, 123, 12; 180, 9, 11.
=pryke=, _n._ See =pricke=.
=pryme=, =prime=, III, 23, 9; 25, 72: the first canonical hour, first
hour of the day.
=pryse=, I, 327, 16, 17: value, most(e) of pryse==most richly.
=pu=, =pow=, pull.
=pudding-pricks=, III, 160, 19: wooden skewers to fasten the end of a
gut containing a pudding.
=puggish=, II, 427, 6: in a later copy, ragged. Mr Ebsworth suggests
the meaning, tramper’s. (puggard, thief; pugging, thieving.)
=purchase=, III, 203, 20: booty, prize.
=purchast=, _p. p._, III, 36, 48: acquired (perhaps, stolen).
=pure=, poor.
=pusin=, _n._ and _v._, poison.
=puss-pay=, V, 110, 9, 10: hare or rabbit pie (still in use: W. Walker).
=put down.= See =putten down=.
=put on= (intransitively), II, 92, 21; 255, 22; 278, 7; IV, 190, 25:
dressed. put on him, II, 162, 12: jogged, pushed.
=putten=, =putn=, _p. p._ of put, I, 446, 10; 469, 3; III, 433, 3.
=putten=, =put down=, II, 178, 39; III, 393, 15; IV, 14, 11; 66, =A=
10; 70, 13: hanged. IV, 32, 12: put to death by violence.
=putting-stane=, II, 421, 28: as the stone is thrown, there is no
propriety in the hitting and kepping (catching) in 29.
=pyet=, =pyot=, magpie: II, 93, 6; 148 f., 11, 13, 15, 17.
=pyght=, III, 296, 19: pitched (fixed in the ground the pole of).
=pygrall=, III, 410 b, note: paltry.
=pylled=, hatte, III, 179 a: (bald) that has lost the nap.
=pyne=, Goddes, Creystys, pyne, III, 75, 391; V, 79, 18: passion. See
=pine=.
=pyot.= See =pyet=.
Q
=quaich=, V, 264 a, 3: cup or bowl (Irish cuach).
=quarrelld=, _p. p._, I, 367 f., 12, 20: quarrelled with, found fault
with.
=quarry=, IV, 26, 6: of living game, in the modern way (in an
adulterated ballad). See =querry=.
=quarterer=, IV, 152, =B= 9, 10: lodger.
=queed=, II, 423, =A= 1: gueed, good is required; queed could mean only
ill.
=queen=, =quean=, =queyne=, =quen=, =quien=, I, 69, 38, 39; 302, =A=
11; 303, =C= 6: woman. II, 141, 11; V, 272, 8, 10: concubine.
=queer=, =quir=, IV, 465, 39; V, 224, 27: choir.
=queet=, =quit=, =cweet=, IV, 190, 26; II, 96, =I= 3: ankle.
=quen.= See =queen=.
=quequer=, III, 112, 51: quiver.
=quere=, III, 250, =K= 7: inquire.
=querry=, =quyrry=, III, 307, 8; 311, 11: quarry, dead game. See
=quarry=.
=quest=, III, 25, 69; IV, 11, 12: inquest.
=questry-men=, another, IV, 11, 13: men constituting a quest, inquest;
but _another_ raises a doubt whether we should not read _quest of_, as
in 12 (ry being caught from jury, above).
=queyt=, III, 112, 59: quit, requite. See =quite=.
=quien.= See =queen=.
=quiles=, II, 488, 1, 2: coils, colls, cocks.
=quill=, IV, 213, 11: quill, the small round fold of a ruff, seems to
be put for the quilled ruff; otherwise, kell, cap (or coul, night-cap,
not likely).
=quinë-stane=, =qunie-stane=, V, 248, 10, 11: (quoin, coin)
corner-stone.
=quir=, =queer=, V, 224, 27: choir.
=quirn=, I, 17, 15: hand-mill.
=quit=, II, 283, 3: ankle. See =queet=.
=quite=, III, 333, 28: requite. See =queyt=, =quyte=.
=quite=, III, 431, 28: free, clear, unpunished.
=qunie-stane.= See =quinë-stane=.
=quoif=, coif, II, 279, 1: cap.
=qustens=, V, 217, a 15: questions.
=quyrry=, III, 307, 8: quarry, the slaughtered game. See =querry=.
=quyte þe=, III, 100, 77: acquit thyself, square the account. The other
text has, quit me.
R
=race=, of ginger, IV, 70, =G= 3: root.
=race=, II, 445, 70, 72; 450, 77, 79; III, 278, 24, 29: course in
justing. fetched a race, II, 454 f., 54, 58: took a run (for impetus);
so I, 176, 22.
=race=, castle-race, II, 75, 15; 81, 43: course in the castle-grounds,
or contour of the castle (?).
=rache=, I, 327 f., 10, 16, 51: a scenting dog.
=rack=, III, 472, 3, 4: ford. “A very shallow ford, of considerable
breadth: Teviotdale.” Jamieson.
=rad=, V, 192, 26: afraid.
=rader=, rather. V, 283, 7, 17: quicker.
=rader=, rider.
=radly=, III, 98, 24: quickly. See rathely.
=rae=, I, 350, 21; 352, 7: roe (referring to the wildness of Tam Lin).
=raid=, =read=, =rede=, _pret._ of ride.
=raid=, _n._, IV, 520, 3: simply ride, for hunting.
=raik.= See =rake=.
=rair=, I, 256, 4: roar.
=rais=, =raise=, =rase=, _pret._ of rise, I, 305, 5; 327, 13; 420, 18;
422, 18; 451, 12; II, 30, 5; 92, 21; 108, 13-15; IV, 215, =A= 6.
=raiths=, =rathes=, =reaths= (Gael. ràidh), II, 314, 30; V, 268, 21,
22: quarters of a year.
=rake=, =raik=, =reek=, II, 216 f., 5, 30; 483, 1; III, 125, 27; 162,
47; 180, 9: walk, move. raking on a rowe, III, 117, 24; 123, 16; 180,
11: advancing in a line; on a rowte, III, 180, 9: in a company.
=ramp=, rider, IV, 198, =G= 6: wild (of manners or habits). See =rank=.
=ramp=, I, 302, =B= 7: spring, bounce, whisk. ramped him, I, 215 a,
7:==ramped, bounded.
=randy=, I, 104 a, burden of =d=: probably unmeaning, though the sense
“indelicate hoyden” would suit with stanza 2.
=rane=, lang rane, II, 82, =C=: yarn, tedious tale.
=rang=, wrong.
=rank= (A. S. ranc, strenuus, fortis, protervus), wild, bold
(turbulent), strong, violent. rank river, IV, 200, 5; 442, 4. rank
robber (who robs with violence, “strong thief”): II, 223, =F= 4; 233,
=F= 3; 399, 6; 400, 4; 401, =C= 6; 404, 6. rank reiver, III, 472,
6; IV, 195, =C= 3; 472, 11. rank rider, IV, 196, 4; 204, 11: rude,
boisterous; but II, 434, 24; 437, 75: of spirit and courage, sturdy
(stout rider, IV, 197, 3, no reference to horsemanship). ramp rider,
IV, 198, =G= 6. rank Highlands, II, 93, 2, 3: rude, wild. ranke (of
horses), II, 444, 59: high-fed (or used adverbially).
=rankit=, _pret._ and _p. p._, V, 197, 10: drew, drawn, up in military
order.
=ranshakled=, IV, 6, 4; V, 249, 4: ransacked.
=rantan=, =ranten=. See =ranting=.
=ranted=, IV, 153, =E= 4; V, 115, 1; was rantin, IV, 85, 39: of making
noisy merriment.
=ranting=, _n._, IV, 284, 26; 287, 1; 288, 1: raking.
=ranting=, =rantin=, =rantan=, =ranten=, laird, laddie, III, 455, =D=
1, 13; IV, 351, 1, 3 ff.; 356 f., =B= 1, 3, 4; V, 274 b, 3-6: jovial,
dissipated, wanton, rakish, “fast;” we have a rantin lassie, IV, 354,
=A b= 1, 2.
=rap=, IV, 382, 14: knock, drive. _pret._ rapped, rappit, rappet, at,
with ellipsis of the door, I, 105 a, 29; IV, 444, 16, 35; V, 173, 1;
306 b, 1.
=rap=, II, 426, 12; IV, 352, 7; V, 161, =B= 1, 5; 274 b, 7; 302, 14:
(of tears) to fall in quick succession.
=rape=, rope.
=rarely=, IV, 58, 4, 5, 7, 8, 10, 11; 358, 20, 21: rhyme-word (to which
any one can assign all the sense it has). as _adj._, IV, 154, 7: rare.
=rase=, _pret._ of rise. See =rais=.
=rash=, _n._, IV, 75 a, b; 76, 1; 448 b, 5 (rash-bush); 524, 4, 7; V,
157, 12: rush.
=rashin=, V, 173, 7: rushen, of rush.
=rassiecot=, V, 107, 2: perhaps of no meaning, or, rush-coat.
=rathely=, I, 327, 13: quickly. See =radly=.
=rathes=, II, 314, 30. See =raiths=.
=rau=, row. See =rawe=.
=raught=, I, 434, 36: reached, delivered.
=rauked=, I, 69, 61: searched, rummaged. (Misprinted ranked.)
=rave=, =reave=, =rive=, _pret._ of rive, I, 439, 5; II, 294, 32; IV,
181, 15. See =rive=.
=ravie= (rave?), V, 111, 19: rive. raving, V, 254, 14, 18, 19: tearing.
=raw=, green raw sea, II, 30, 6: as of weather, wet and cold; but I am
informed that the singer ordinarily gave haw, as II, 28, 21.
=rawe=, =rewe=, _n._, III, 71, 306: row.
=rawstye by the roote=, III, 94, 56: rusty, soiled, foul, (with blood)
at the end (?).
=ray=, _n._ and _v._, III, 112, 60; 201, 17; 406, 29; V, 83, =b= 3:
array. V, 192, 34: make ready, saddle.
=ray=, _n._, IV, 3, 22: track.
=raye=, III, 67, 230: striped cloth.
=raysse=, III, 295, 2: riding, raid.
=reacheles= on, III, 93, 38: reckless of, heedless about.
=read=, _pret._ of ride, IV, 457, 23; V, 166, 11; 228, 25.
=read=, I, 309, =B= 1; 310, =B b=: rehearse, tell.
=read= (of dreams), IV, 167, =D= 9, 10; 171, 11; 172, 12, etc.; 180,
=C= 3; 190, 23; V, 221, 24; 224, 23; 257, 14: interpret, give an issue
to.
=read=, =reade=, =rede=, =red=, =redd=, _n._, II, 53, 34, 35; 182, 4:
advice. See =rede=.
=read=, =reade=, =red=, _v._, II, 52 f., 6, 34; III, 104, 2, 4; 105,
25: advise. read my rede, II, 186, 1: corrupted from riddle my riddle,
187, 2, 8. See =riddle=.
=readilie=, =readylye=, II, 23, =E= 7; 444, 43: (without difficulty or
hesitation) certainly.
=ready=, V, 75, 6, 7; 81, 10: direct. readye, II, 58, 16: indubitable,
certain.
=reaf=, =reif=, III, 458 b: plunder.
=reak=, smoke. See =reek=.
=reaming=, a suit o claise were o the apple reamin, IV, 176, 15:
reaming==creaming, foaming, which of course gives little or no meaning.
Apples were sometimes used to scent clothes.
=rean=, =rin=, run.
=reap=, V, 165 f., 6, 9:==ripe, search, rummage; see V, 306, 9.
=reapen=, _p. p._ of reap, II, 9, 26.
=rear=, rare.
=reas=, praise. See =roos=.
=reas=, =ryse=, III, 307, 5: rouse.
=reast=, =reest=, V, 256 b, 4: roost.
=reaths.= See =raiths=.
=reave=, IV, 26, 1: rob.
=reave=, =rave=, =rive=, _pret._ of rive, I, 442, 6; IV, 416, 18.
=reavel(l)d=, II, 140, 19, 20: ravelled, disordered (of hair).
=reaver=, =rever=, =riever=, IV, 85, 2: robber.
=recher=, _compar._, V, 283, 10, 20: richer.
=reck=, _v._, II, 340 b, 2d line: rock (perhaps miswritten).
=recones=, IV, 496 b: reckonings.
=record=, sma, III, 319, 22: note.
=red=, =redd=, =rede=, _n._, II, 182, 4; III, 112, 58: counsel. I, 22,
=B= 1; 227 a, 5: talk, tale. See =read=.
=red=, =redd=, =rede=, =reid=, _v._, I, 329, 58; II, 59, 20; 62 a, 15;
182, 4, 6, 9, 10; 272, 6; IV, 495, 2; V, 191, 8: advise.
=red=, III, 163, 80: to rid, clear out. of hair, comb (see
=redding-kaim=). red the question, II, 253, 18: clear up, settle.
=red lan(d)=, I, 16, =C= 11; IV, 274, 6; V, 206 a, 5: cleared, ploughed.
=red river comb=, II, 216, 19, 21: corrupted, as are other versions in
this passage.
=redding-kaim=, =reeding-comb=, III, 452, 8; IV, 515, 7: comb (for
disentangling).
=rede.= See =red=.
=rede=, _p. p._, III, 298, 53: read, divined, discerned.
=rede=, _pret._ of ride, III, 63, 134 (reden, they rode); IV, 182, =F=
5. See =read=.
=redly=, III, 67, 223: quickly.
=reeding-comb.= See =redding-kaim=.
=reef=, I, 333, 5: roof.
=reef-tree=, I, 299, 5: roof-tree, beam in the angle of a roof.
=reek=, =reak=, =reik=, _n._, II, 191, 24; 193, 21; 195, 33; III, 433,
=C= 6-8, =D= 12; 434, 15; 435, 14; IV, 514, 16, 20: smoke.
=reek=, _v._, I, 304, =E= 3; II, 30, =L= 2; V, 152, =E b= 1: rake,
range, move, turn. See =rake=.
=reekit=, V, 108, =B= 7: smoked, smoky.
=reel=, reel went round, V, 155, =C= 2: revel, riot (of merry-makers)?
=reem=, II, 335, =N= 7: room.
=reest=, =reast=, IV, 189, 3, 4: roost.
=reet=, I, 367, 7; V, 213, 8: root.
=reeve=, V, 69 b: bailiff, steward. _pl._ reues.
=refell=, I, 110, 22: repel.
=refer=, message, II, 286, =C= 10: report, announce.
=regulate=, III, 509, 1, 7: corruption of, riddle it.
=reid=, _v._, V, 200 a, after 50: advise.
=reif=, =reiff=, III, 365 b; 471, note ‡; V, 198 b, after 52: robbery.
=reign=, II, 8, 1: for rhyme; range ? or rein, as 9, b 1.
=reik=, smoke. See =reek=.
=reill=, reel.
=reiver=, =rever=, =riever=, III, 472, 6; 473, 22: robber. See =reaver=.
=rejoyfull=, IV, 173, 7: rejoicing.
=remeid=, II, 367, 42; 371, 13; IV, 405, 49; 428, 7: remedy.
=remorse=, III, 209, 10; 231, 94: compassion.
=remoued=, II, 58, 4: agitated.
=renisht=, renisht them to ride of twoe good renisht steeds, II, 52,
8; 53, 42 (42 emended from, on tow good renish, in conformity with 8):
should have some such meaning as accoutred, but a derivation is not to
be made out. Qy. [ha]renisht, harnessed?
=renown=, spake wi renown, IV, 348, 11: force of authority (of
prestige), or, with the air of a person of repute.
=repair=, II, 163, 18: resort to? fix upon? (probably nonsense for
rhyme).
=require=, II, 427, 6: ask for. (Other texts, inquire.)
=reset=, IV, 281 a: harboring.
=respect=, in respect, III, 364 b: considering.
=rest=, _pret._ of rest, IV, 424, 12.
=restore=, IV, 425, 8: restore, because the morning-gift would revert
to the father and be at his disposition, no son having been born.
=retour=, IV, 91, note †: return.
=returned=, III, 356, 33: turned away.
=reuelle=, I, 328, 51, 52: festivity.
=rever=, III, 458 b; IV, 472, 11: robber. See =reaver=.
=reues=, III, 68, 254: bailiffs. See =reeve=.
=rewe=, be rewe, II, 479, 15: in a row, one after another, each of the
whole class. See =rawe=.
=rewth=, III, 28, 136: pity.
=ribless kiln=, I, 18, =F= 11: the ribs of a kiln for drying grain are
the cross-beams, on which were laid the “stickles,” or short pieces of
wood, to support a layer of straw (or hair-cloth, or bricks) on which
the grain was placed. It would of course be impossible to dry grain on
a ribless kiln.
=rid=, =ried=, red.
=riddle=, II, 184, 5, 8, 11, 18; 186, 1; 187, 2, 8; 196, e 1, 7:
resolve. riddle my riddle, 187, 2, 8: resolve my dilemma. read my rede,
186, 1, is probably corrupted from riddle my riddle; cf. 187, 2, 8.
=ried=, ride.
=rien=, V, 161, 9; 162, =B= 6: riven.
=riever=, =reiver=, =rever=, IV, 84, 8; 195, =C= 3: robber. See
=reaver=.
=rig=, =rigg=, =riggin=, ridge.
=rig=, =rigg=, of land, I, 19, 9; II, 152, 11; V, 164, 16; rig-length,
III, 273, 23: a measure of land 600 feet by 15, containing 9000 square
feet. Donaldson.
=riggin=, III, 459, 5: ridge.
=right=, III, 356, 19: right off, directly.
=rigland=, land under the plough, and so in rigs, ridges. rigland
shire, II, 132, 32: a shire of such land (?).
=rin=, =rine=, =rean=, V, 221, 15: run.
=ring=, plural, II, 285, 16 f.: misprint in Scott?
=ring= (dancing), II, 104, 23; so, take me to the middel o the ring, V,
273, 12.
=ring=, knocked at the, with the, ring, II, 187, 12; 201, 2; 459,
10; III, 106, 4; 250, 11. rappit wi a, II, 462, 10. rapped on the,
V, 293 b, 10. pulled at a, II, 490, =D b= 9. tinkled at the, II, 196
b, 4; 251, 4; 266, 7; 267, 9; 393, 11; 475, =K= 6: the hammer of a
doorknocker. But, perhaps, in the case of tinkling, the ring may have
been gently drawn up and down or struck against the projecting bow or
rod of a door-handle (often wound with a spiral), an operation which,
when vigorously performed, is described as risping or rasping.
=ring= (game), to ride at the ring, III, 448, =A= 3: to attempt, while
at full gallop, to carry off, on the point of a rod, a ring suspended
on a cross-beam resting on two upright posts. Jamieson.
=ring and the ba=, IV, 257, 4; 354, =A b= 1, 2: a game in which a ring
was thrown up, and a ball was to be thrown through before the ring
fell. Dr. W. Gregor. The rantin lassie plays at this, IV, 354.
=ringle-tree=, V, 112, =B b= 11: probably the huge block of wood used
for scutching flax and mangling clothes. An old game-keeper tells me
that he has heard the word and so understands it. When not in use for
beating flax, the beetle and tree-block were used by the women to
mangle their clothes after washing. W. Walker.
=ripe=, =reap=, =rype=, III, 160, 16; 163, 83, 84; V, 306, 9: search,
rummage, clear or clean out, rifle.
=rise=, III, 332, 2: branch.
=rise===raise: III, 513 b, 4. _pret._ rose, 514 a, 5. See =ryse=.
=rise=, _pret._ of rise, III, 369, 17.
=rise=, did on anchor rise so high, III, 344, 34: said of a ship in
full sail; no apparent sense. (ride in =B c=, =g=, 347, 34; upon an
anchor rose so high in h, 349, 34.)
=rispen=, fine rispen kame, II, 225, =J= 2: keen, sharp, risping,
rasping? or, _p. p._, filed? (This passage is variously corrupted in
different versions.)
=ritted=, II, 295, =B b= 4, 22: stuck, stabbed.
=rive=, =rave=, =reave=, _pret._ of rive, tear, V, 256, 13. _p. p._ II,
465, 4, 6, 8.
=rive up=, I, 303, 7: plough up, tear up.
=riued=, I, 284, 9: arrived, travelled.
=river=, III, 364 b: robber. See =reaver=.
=river-comb=, red, II, 216, =A= 19: is river a corruption of _ivory_?
In =B= 2, 4, it is a tabean brirben kame. =H= 1, brown berry comb. =J=
2, fine rispen kame: fine-filed (?). All seem to be badly corrupted.
=rook=, =roke=, IV, 84, 14; 85, 4; 86, 6; 87, 4; V, 254 =a=, 4: distaff.
=rocked=, =rocket=, =roked=, II, 191, 24; 195, 33: smoked.
=rod=, III, 8, 21: a bier was extemporized by taking rods from bushes
for spakes, spokes, or bars.
=roddins=, II, 408, 19, 20; 409 f., 21, 23: berries of mountain ash.
(But the berries are said to grow on yonder thorn, 409, 21.)
=rode=, rood.
=roelle-bone=, I, 326; 6. royal bone, I, 466 f., 10, 33; royal ben,
I, 478 f., 12, 46: interpreted variously, without satisfaction. See
_rewel-boon_, Professor Skeat’s note to Chaucer’s Sir Thopas, v. 2068.
Hertzberg suggests Reval bone, mammoth tooth, fossil ivory, imported
into western Europe via Reval, Chaucer Nachlese, in Jahrbuch für Rom.
und Engl. Litteratur, VIII, 164 f.; and Prof. Skeat (with a different
derivation), ivory of the walrus, citing Godefroy, “rochal, ivoire de
morse.”
=roke=, III, 298, 51: reek, vapor.
=roke=, V, 254 a, 4: rock, distaff. See =rock=.
=roked=, =rocket=, =rocked=, II, 191, 24; 193, 21; 195, 33; V, 224, 19:
smoked.
=rom=, V, 304 b, 2: room.
=rood=, III, 93, 28: rod (a measure).
=rood=, four and thirty stripes comen beside the rood, II, 59, 29:
referring to the scourging of Jesus (?).
=room ye roun=, II, 89, 29: move round so as to make room.
=roome=, III, 36, 44: companye (the reading in =b=).
=roos=, =rous=, =reas=, _v._, IV, 69, 21; 378, 2; 379, 2; 384, 2; V,
275, 2: to praise, laud, boast.
=roose=, _n._, IV, 503, 19: rose.
=roosing=, =rosin=, =rousing=, _n._, IV, 378, 1; 379, 1; 383, 1; V,
275, 1: praising, boasting, bragging.
=root=, I, 304, =F= 5: the end of a rafter, resting on a wall. ring
of an auld tree-root, I, 304, =F= 4: hoops are sometimes made of
tree-roots, which are very tough; the point here is the size of the
fingers which such a ring would fit.
=root of his sword=, III, 268, 11: a blunder; see note, III, 275.
=rose-garlonde=, III, 75, 398: a “garland” appears to have been
attached to the yerdes (397), and every shot outside of the garland was
accounted a failure. The garland as the limit of allowable shots is
mentioned at 93, 31. This must have been an extemporized ring of twigs
in the latter case, and was so, perhaps, in the other, for it is likely
that the term would become conventional, and mean, as Mr C. J. Longman
suggests, nothing more than a disk with circular rings, such as survive
to this day in archery targets.
=rosin=, V, 275, 11: boasting. See =roosing=.
=rosses=, roses.
=rottens=, =rottons=, I, 466, 8; V, 124, 6: rats.
=roudes=, II, 284, 4: haggard (_subst._, an old wrinkled woman).
=roun=, =rown=, =round=, III, 199, 28; 356, 19: whisper.
=rounin(g)=, _n._, V, 256, 10: whispering.
=round=, so it went round, IV, 146, 7: so much it came to (?).
=round tables=, II, 343, 1: a game.
=roundlie=, I, 104, 6: at a good pace.
=rous=, =roos=, =reas=, IV, 379, 2; V, 275, 2: boast of.
=rousing=, _n_., boasting. See =roosing=.
=rout=, _n._, III, 160, 22: blow.
=rout=, _n._, IV, 113, 3; 114, =D= 1: row, brawl, disturbance.
=rout=, _v._, II, 318 a; IV, 378, 5; 380, 11: roar. IV, 6, 15; V, 250,
14: bellow.
=route=, =rowte=, =rowght=, III, 23, 22; 26, 88; 180, 9; 207, 33:
company, band, crowd. In III, 297, 33: perhaps mêlée, affray.
=routh=, I, 298, 1: plenty.
=row=, rough.
=row=, =rowe=, I, 71, 61; 80, 33; 441, 6, 8; II, 443, 35; 448, 39; IV,
267, 9; 269 b, 9: roll. _pret._ and _p. p._ rowed, rowd, rowit, rowt,
I, 441, 7, 9; IV, 274, 15; V, 106, =D= 7: rolled, wound.
=rowan=, =rowon=, =rown=, tree, II, 504, 18: mountain-ash.
=rowe=, on a, III, 67, 229; 117, 24: in a line, file.
=row-footed=, III, 473, 25: rough-footed.
=rowght=, III, 297, 33: company. ryall in rowghte, kingly among men.
See =route=.
=rowght=, wrought.
=rown=, I, 312, 17, 22: rowan, mountain-ash. See =rowan=.
=rown=, =roun=, =round=, III, 356, 19: whisper.
=rowt=, _pret._, V, 106, =D= 7: rolled. See =row=.
=rowte.= See =route=.
=rowynde=, III, 297, 33: round.
=royal bone=, =royal ben=. See =roelle-bone=.
=royaltye=, III, 411, 5: splendid display, or the like.
=rub-chadler=, =rub-chandler=, I, 285 f., 31, 43: rubbish-barrel. See
I, 279.
=rudd=, _n._, I, 272, 13, 20, 24: (redness) complexion, face.
=rudd=, _v._, IV, 28, 34: redden.
=rudely=, III, 162, 49: sturdily.
=rue=, III, 220, 6: cause to rue.
=rugge=, I, 243, 2: back.
=rule=, III, 98, 32: going on, taking on, noisy bewailing.
=run=, IV, 289, =F= 6: issue, outcome (said to be slang).
=run=, red runs i the rain, II, 304, 4: gives no sense, and so of
Scott’s reading at this place, the red sun’s on the rain. It will be
observed that the day has not dawned.
=run a reel=, II, 108, 17: gone through, danced.
=rung=, I, 202, =A= 12; III, 161, 43; IV, 444, 20: staff, pike-staff.
=rung= (of the noise of a cannon), _n._, IV, 52, 14: ring; appears to
have been altered, for rhyme, from ring, which is in two other copies.
=rusty=, V, 151, =E= 6: surly.
=rybybe=, I, 328, 49: a stringed instrument.
=ryght=, straight, directly, ryȝth, V, 283, 14: aright.
=rynde=, be rynde and rent, III, 297, 42: flayed., (rynde should
perhaps be _riven_.)
=rype=, _v._ See =ripe=.
=ryse=, III, 22, 2; 23, 20: rouse. See =rise=.
=rysse=, I, 328, 39: probably rising ground, elevation (compare
mountayne, playne, delle, hill, in 38, 40-42: not twig, brushwood).
=rysyt=, I, 242, 11: riseth (old _imperat. pl._), rise.
S
=s=, =se=, as sign of the future tense. I’se, III, 488, 19; IV, 428,
18. thou’s,’se, IV, 3, 31; 12, =C= 6. he’s, hee’se, II, 442, 16; IV,
146, 6. we’s, I, 467, 29; IV, 181, =D= 14. ye’se, IV, 22, 18; 109, 7.
yow’s, IV, 504, 36. they’s, IV, 486, 32. itt’s, II, 443, 22. heart’s,
IV, 181, 17. Jocky Ha’s, III, 487, 6. thy dinner’s, III, 489, 41. (The
_s_ being the initial letter of sal, it would be better to write I s’,
etc.) _s_ attached to the verb, be’s, III, 160, 9. We even find shals,
I, 481, 28.
=-s (-is)=, of the genitive, omitted, III, 97 f., 8, 23, 28; 111, 39.
moder son, III, 98, 24, 27, as in A. S.
=’s=, II, 375, 19: of his.
=-s (-se)=, termination of the _2d pers. sing, of the pres. indic._
thou was, I, 222, =E= 11; seese þou, I, 328, 38-42; þou commes, 44.
thou’s welcome, III, 488, 24. shals thou, I, 481, 28. istow, 175 f.,
=D= 4, 10, 16. See I, 130, 5; 327, 20; 328 f., 56, 58; 341, 13; 411, 4;
413, 3; II, 54, 57; 148 f., 12, 20; 218, 8, 10, 16; III, 97, 11, 15;
99, 62; 110, 23. Etc., etc.
=-s=, =-es=, =-ys=, termination of _pres. indic. plur_. cods that
sleeps, cheeks gars, bairns has, lies men, raches rynnys, fowles
synges, I, 68, 29; 115, =C= 3; 130, =F= 11; 327, 16; 329, 59; 342, 40;
345, 39; II, 32, =P= 4. So, is, was, I, 68, 27; 69, 43; 255, 3-5; 342,
30; 344, 28; II, 71, 13, 14. Etc.
=saa=, _pret._, saw.
=sabelline=, I, 221, =D= 8, 9: sable.
=sackless=, =sakeless=, =saikless=, II, 145, 22, 23; 153, 19, 21; III,
437, 27; IV, 373, 9: innocent.
=sad=, III, 67, 215; 357, 40: steadfast, firm, stanch.
=saep=, _v_., III, 269, =D= 3: soap.
=saerd=, _p. p._, IV, 494, 33: served.
=safe=, II, 160, 4, 6, 7: save.
=safeguard=, V, 66, 11: riding-skirt.
=safer=, V, 283, 21: saffron.
=safly=, IV, 18, 10: softly.
=saft= (of sleep), III, 489, 11: lightly.
=saikless.= See =sackless=.
=sain=, I, 351, 36, 48: cross, bless. _p. p._ sained, I, 354, 26. ill
sained, _pret._, I, 350, 25. well saint, _p. p._, III, 488, 37.
=saint=, III, 488, 37: blest. See =sain=.
=saint=, _v._, disappear. See =sainted=.
=St Mary knot(t)=, III, 465, 26, 27: a triple knot (see 462, note *).
=sainted=, =saunted=, I, 331, =C= 8; 333 b, 8: disappeared.
=saipy-sapples=, I, 303, =D= 5 (the right reading): soap-suds in which
clothes have been washed (probably meaning the _strang_ of V, 213, 5).
=sair=, sore. I, 100, 9: lamentable.
=sair=, =sare=, =saer=, =sere=, I, 301, 2; II, 71, 15; 105, 9; 408, 1,
2; IV, 248, 10; V, 105, =B= 3, 11; 239, 34: serve.
=sairly=, IV, 358, 19: rhyme word; _much_ is all the meaning.
=sait=, set.
=sakeless.= See =sackless=.
=sale=, V, 228, 19: sold.
=sall=, shall, _pret._ sould.
=sally rod=, III, 252, 12: sallow, willow.
=salten=, _adj._, IV, 452, 6; 475, 6: salt.
=salued=, III, 61, 102: greeted.
=Saluter=, III, 250, 3: corrupted from Sir Hugh (see other versions of
the ballad).
=same=, alle in same, III 91 a: all, together. vppon the same, III,
361, b 33: again, after the same fashion (?).
=san=, =sane=, =sayn=, =syne=, V, 214 f., 4, 9; 221, 24; 242 a, 7; 257,
14: since.
=sanchoþis=, of his bryk, III, 13, 3: apparently the fork of the
breeches, but the etymology is to me inexplicable.
=sang=, _pret._ of sing, to singe, II, 155, 37, 38.
=sanna=, shall not.
=sarbit=, II, 132, 33, 34: exclamation of sorrow.
=sare=, serve. See =sair=. sare a man a wear, I, 301, 2: serve, supply,
a man (of) with his wear, clothing.
=sark=, I, 15, 8, 17; 16, =B= 8, 18, =C= 6, 18, etc.; 387 f., =A= 5, 8,
9; =B= 5, 6, 7: shirt, shift.
=sarsenent=, IV, 312, 8: sarcenet.
=sassaray=, II, 209, =E= 5: imitation of the sound of church-bells. See
=céserará=.
=sat=, =saut=, I, 310, 4: salt.
=sate=, sit a gude sate, a silly sate, IV, 469, 8: occupy, be in, a
good, pitiable, position.
=sathe=, I, 333, appendix 1, wrongly written (or read) for sagh (or
something equivalent), saw. (th in this piece very frequent for gh.)
=saugh=, III, 459, 15; IV, 95, 2: willow.
=saun faile=, V, 297 b: assuredly.
=saunted=, =sainted=, I, 331, =C= 8; 335 b, 8: disappeared.
=saut=, =sat=, IV, 258, 26: salt.
=saute=, III, 327 b: assault, attack.
=sauyour=, see (saw) my sauyour, III, 97, 7: attended mass, or, took
the sacrament.
=saving tree=, III, 398, =D= 4: corruption of savin tree.
=saw=, _v._, I, 427, 13, 15; 428, 11: sow.
=sawe=, _p. p._ of see, III, 59, 60.
=sawe=, speech.
=sawten=, _v._, _3 pl._, III, 100, 63: assault, attack.
=sawtrye=, I, 328, 49: psaltery, a stringed instrument.
=say=, II, 87, 30: try.
=say=, =saye=, _pret._ of see, III, 111, 34; 309, 44; V, 79, 35; 80, 47.
=sayn=, =san=, =sane=, =syne=, V, 239, 34; 254, 9, 11, 13, 22; 257, 15:
since, then.
=sayne=, I, 70, 19, _strong participle of_ say. In, I yow sayne, III,
297, 46, an auxiliary, _do_ or _can_, must be omitted, or else we must
read _saye_, as in 32, 34, 62, 65.
=scad=, I, 102, 12: reflection (of the color of). In other texts,
shade, shadow, I, 490, 21; 491, 20; 492, 12.
=scaith=, =skaith=, =scath=, _n._, III, 162, 52, 66: hurt.
=scaith=, =skaith=, _v._, III, 5, =D= 8; 6, 17: hurt.
=scale=, I, 429, 11: a drinking-vessel. (Icelandic skál, Danish skaal,
a bowl for drinking.)
=scale=, III, 403 a: scatter, disperse. III, 393, 6: expel, drive away.
scaling wide, III, 301, =D= 2: scattering, covering a good deal of
ground.
=scales=, V, 211, 25, 31-34: discs worn as ornaments on the head.
=scanct=, I, 336 a, last line but one: shone, gleamed.
=scarson=, II, 434, 29: scarcely up to.
=scart=, I, 301, 5, 6; 303, =D= 2: scratch, scrape.
=scath=, =scaith=, _n._, I, 284, 18: harm.
=scathe=, awayte me scathe, III, 66, 202; =wayte= me skathe, wait me
scath, III, 83, 202; 86, 202: lie in wait, seek an opportunity to do me
harm.
=scathe away=, I, 348 f., 5, 8: expel, get rid of? See =skaith=, I,
397, 14.
=scaur=, Braidscaur, III, 5, =D= 2, 6: a bare and broken place on a
steep hill; also, cliff, precipice. Broadspear, 6, 2, 5, is probably a
corruption.
=Scere-thorsday=, I, 243, 1: Maundy Thursday, Thursday before Easter.
(Icelandic Skíri-þorsdagr.)
=schane=, _pret._, shone.
=scharpper=, _compar._, V, 283, 6, 16: sharper. V, 283, 8: emend to
_strenger_.
=schele=, =scheel=, II, 164, 2; 335, =N= 5; IV, 328, =A b=, after 7:
school. See =schule=.
=schet=, =schette=, _pret._ of schote, shoot, III, 13 f., 13, 15.
=schill=. See =shill=.
=scho=, II, 146, 19; IV, 418, 2: she.
=schon=, =shon=, =shone=, V, 79, 27: shoes. See =sheen=.
=schoote= his horsse away, froo, III, 297, 32, 33: discarded, sent off.
=schrewde= (arrow), III, 13, 6: accursed, pernicious, baneful.
=schule=, =scheel=, =squeel=, II, 175, 16; IV, 327 f., 2, 5; 329, =D d=
7: school.
=schunte besides=, =beside=, III, 361, =b, c= 38, 41: turn aside from.
=schylde=, _imperat._, V, 283, 14: shield, protect.
=sckill=, I, 295, 28: reason, judgment. See =skill=.
=sclasps=, twa lang sclasps between his eyes, IV, 489, 25: clasps. Span
would answer were it not that there are but three sclasps between the
shoulders. (In =L= 18, of the same ballad, II, 394, there are three
women’s spang (span) between his brows.) If sclasps were taken in the
sense of fathom, the space between the arms extended, this would suit
the shoulders well enough, but the absurd disproportion in relation to
the eyes would remain. Probably yard or ell has dropped out in 25^4.
(yards three in =L= 18.)
=sclavin=, I, 190 a: pilgrim’s cloak.
=scob(b)=, =scope=, =scoup=, II, 313, 26; 316, 10: gag.
=scop=, III, 138, 9: (scalp) pate, head.
=scope=, =scoup=, =scob=, II, 312, 29; V, 229, 33: gag.
=score.= See =cor=.
=scorn=, =skorne=, II, 105, 20; III, 113, 77: shame, humiliation,
mortification. give the, this, a, scorn, III, 111, 12; 360, 23; 362,
35; 363, =D= 14; 367, 49; IV, 201, 23; 224, 24, 25; 254, 25; 357, =B=
6, 10; 358, 16; 465, 35, 36: put to shame, subject to humiliation
(especially, by showing a preference as to marriage, or by slighting a
woman). So, playd you the scorn, IV, 483, 25; get the scorn, II, 367,
47; IV, 221, 16; 222, 18, 19; 227, 16, 17; 228, 19; 230, 24.
=scort=, I, 334, 4: short.
=scoup=, _n._, V, 229, 33: gag. See =scob=, =scope=.
=scoup=, _v._, II, 70, 15: move hastily from one place to another, fly.
=scouth=, III, 161, 42: room, range.
=scray=, III, 116, 4, as to form suggests _scrag_, scrog; but the
meaning required is, branches, _branchage_, or even spray.
=scread=, II, 425, =A= 6: shred, bit, piece.
=screeded= (or =scrieded=), _pret._, II, 212, 13: rent.
=screeking=, =screehing=, II, 485, 17: screeching.
=screfë=, =screffë=, =shryvë=, III, 111 ff., 27, 33, 38-42, etc.:
sheriff.
=screighed=, IV, 174, 20: shrieked.
=scrieded.= See =screeded=.
=scrime=, IV, 10, 2; serime, 15, =d= 2: seem to be corrupt; possibly,
crime; pursuing the crime for pursuing the criminal.
=scrodeley=, V, 79, 14: shrewdly, rudely, ungraciously.
=scroggs=, =scrogs=, III, 3, 12; 5, =C= 3; 7, =E, F= 11; 9, =G= 10, =H=
13; 10, =I= 5; IV, 496, 8: stunted bushes, or perhaps trees; underwood.
“Scroggs, blackthorn.” Halliwell, from a MS. scrogg-bush, V, 10, 4
(high enough here to hang the pair on).
=scroggy=, =scroggie=, IV, 174, 10; 273, 14: covered with stunted
bushes; “abounding in underwood,” Halliwell.
=scug=, to scug his deadly sin, II, 283, 22: shade, screen. (Icel.
skyggja, overshadow; Dan. skygge, Swed. skugga, shade.) expiate, W.
Scott.
=scuttle-dishes=, II, 467, 43: the larger dishes, in which things are
served, in distinction from those out of which things are eaten (T.
Davidson); platters.
=se=, sign of the future tense. See =s=.
=se=, _pret._ of see. See =see=.
=sea-ground=, I, 448, 11: bottom of the sea.
=sea-maw=, II, 363, 7; 365, 5; IV, 482 b, 6: gull.
=seal=, IV, 409, 5: (A. S. sǽl) happiness, blessing. gude seal
that it sae spread, II, 420, 1: (happiness result from its spreading?)
quod faustum sit!
=seale=, III, 412, 24: sail.
=sear=, =sair=, IV, 456 f., 15, 19: sore.
=sear=, V, 223, 8: sure.
=sear=, serve. See =sair=.
=search her=, IV, 446, 2: look her up, see about her, overhaul (should,
perhaps, be _seek_, visit).
=seat=, V, 274 b, 1: sight.
=seck=, I, 15, 15: sack.
_Second person of pret. indic._ without termination, thou made, thou
did, thou came, etc., I, 221, =C= 9; 222, =E= 10-17; 434, 27; II, 148
f., 12, 14, 20; 218, 16. So, thou will, schall, thou’ll, well thow, I,
130, 4; 221, =C= 10, 11; III, 110, 24; 112, 48.
=securly=, III, 98, 34: surely.
=see= (_videre_), _pret._ say, saye, sey, se, see, seed. _pret._ se,
see, I, 283, 1; 295, 27; II, 46, 40; 245, 27; III, 24, 47; 27, 99; 97,
19. _p. p._ se, III, 27, 102.
=see=, save and se(e), II, 44, 6, 15; 52 f., 10, 18, 44; III, 65, 177;
IV, 198, =G= 4; 455, 4: protect (_tueri_).
=see=, well mot ye fare and see, III, 266, 3: as here used, _see well_
would have to mean, see prosperity; but apparently there is a confusion
of _well may you fare_ and _God see you_, protect you (as in, save and
see). In =B= 3, p. 268, _weel may ye save_ might mean, may God save
you, but _far better_, in the next line, is not in concatenation, and
we shall be obliged to understand _weel_ as good fortune. The passage
must be corrupted. well may you sit and see, lady, well may you sit and
say, II, 290, 15: (corrupted) nonsense.
=see=, sigh and see, IV, 193, 14: apparently a doublet of sigh, as _ne_
of _neigh_ and _nigh_, _he_ of _high_.
=see=, _n_., V, 283, 5, 15: sea.
=seed=, _pret._ of see, IV, 151, 6.
=seek=, =seke=, I, 75, 46; II, 146, 18, 20; 171, 16; III, 68, 255; V,
256 b, 14: search. I, 202, 16; 204, 11; V, 211, 19, 23: ask. socht, II,
30, 8: asked for. _partic_. seek and, seeking.
=seek in=, V, 180, 13, 15: ask admission.
=seeke to=, =unto=, III, 444, 5: resort to.
=seel o downs=, IV, 218, 12: chelidonium, celandine, mallow-wort.
=seely=, happy. seely court, I, 315, 12; 507 f., 2, 12: fairy court (as
I, 346, 16; elfin court, 351, 30).
=seen=, I, 504, 7: sun.
=seen=, I, 183, 9, 15; II, 166, 20; 257, 30; IV, 135, 25: soon. seener,
IV, 262, 31.
=seen===syne, afterwards.
=seene=, I seene, V, 53, 105: _ellipsis of_ have.
=seep=, II, 148, 10: ooze, leak.
=seeth=, III, 281, 7: sooth.
=seke=, III, 68, 255; 100, 76: search. See =seek=.
=seke=, to, III, 110, 14: at a loss.
=seker=, III, 67, 215: firm, resolute.
=sekirlye=, I, 327, 18: certainly, truly.
=seld=, IV, 2, 2: sold.
=selerer=, III, 61, 91, 93; 67, 233: the monk who has charge of the
provisioning of a convent.
=selke=, V, 283, 21: silk.
=selkie=, =silkie=, II, 494 a: seal.
=selle=, I, 326, 6: saddle.
=semblant=, =semblaunce=, =semblaunte=, =semblaunt=, III, 57, 22; 79,
22; 82, 22; 85, 22: mein, look.
=sembled=, III, 160, 15: met. (=b=, asembled.)
=sen=, sent.
=sen=, II, 32, =Q= 2; 110, 2; 272, 10, 12: since.
=send=, =sene=, II, 360, 10; 365 f., (10), 17, 18: a thing sent. II,
109, 15: the messengers sent to fetch the bride.
=send=, _pret._, I, 204, =D= 3: sent.
=sendered=, IV, 229, 12, 16: sundered, parted.
=senes=, IV, 315, 2; 316, 25: sends, messages. See =send=.
=sent=, III, 75, 384: sendeth.
=sent=, sent I me, III, 76, 414: assent.
=sentence past=, IV, 514, 6: order given.
=sere=, serve. See =sair=.
=serre=, II, 59, 29: sair, sore? (MS. serrett).
=serundad=, =surunded=, V, 262, No 225, =A= 3; 263, 4: surrounded.
=servit=, II, 371, 5: (serviette) table-napkin.
=seruyd him of bred and cloth=, I, 241, 1: _for_ would make an easier
reading than _of_, which will have to be understood, on terms of
(receiving food and clothing).
=set=, V, 80, 57: sitteth.
=set=, II, 168, 1; 282, 7; 463, 19, 25; III, 216, 29; IV, 135, 20; 204,
9; 331, 18: sit, become, suit. set a petticoat, IV, 331, 18: became
(looked well in) the petticoat. See =become=.
=set=, _p. p._, III, 37, 61: fixed, determined. See =set for=, below.
=set= her brest (and swom), II, 459, 8: brought her breast to a level
with the water. (Elsewhere, smoothed.)
=set=, set a mill, I, 134, =O=, 8: to stop the machinery by turning off
the water from the wheel.
=set=, set the monke to-fore the brest, III, 67, 223: assailed, shot at.
=set= (=sete=, and wrongly =sat=) a dynt on, vppon, of, III, 309, 42,
45, 46: inflicted a blow, stroke.
=set by=, IV, 11, 15, 20: lay aside, cease, let be.
=set for=, IV, 229, 12, 16: set upon, bent upon.
=set them up in temper wood=, IV, 222, 20: corrupt. See note, 231, =D=
20.
=sete=, _n._, III, 63, 133: suit, dress.
=sett=, III, 340, 31: take aim.
=settle by=, IV, 219, 13: set you aside (?).
=settled=, gun, III, 341, 44: levelled, adjusted.
=sevent=, II, 75, 7: seventh.
=several=, III, 224, 13: variously.
=sey=, _pret._ of see, V, 80, 41.
=seyn=, =syen=, =syne=, then, afterwards.
=seyte=, neys seyte, V, 80, 39: pretty sight!
=sez I=, V, 304, b, 4: say(s) I.
=sha=, =shaw=, V, 267, 10: show.
=shack=, =shake=, IV, 325, 9; 326, 7: shake straw so that the corn may
fall out (?).
=shade=, =shadow=, =scad=, I, 101, 13; 490, 21; 491, 20; 492, 12:
reflection (of the color of). We have, shaddoowes _greene_, in one copy
of Adam Bell, see III, 32, 48.
=shaft their arrows on the wa=, IV, 3, 16: so in both copies,
unintelligible; corrected by Scott to sharp.
=shaftmont=, =shathmont=, I, 330 f., =A= 2, =B= 2, =C= 2; 332, =E= 2:
the measure from the top of the extended thumb to the extremity of the
palm, six inches. (A. S. “ix. scæfta munda.” Lex. Ath.)
=shake=. See =shack=.
=shals thou=, I, 481, 28. See =s= as sign of the future tense.
=shambo=, II, 376, 26: shamoy, chamois.
=shame=, the, II, 70, 15; III, 464, 11; 466 f., 44, 52, 58: euphemism
for the Devil. shame a ma, III, 490, 15, 27, 29: devil a bit.
=shamefu reel=, II, 110, 28: the first reel that is danced with the
bride, her maiden, and two young men; called the Shame Spring or Reel,
because the bride chooses the tune. Buchan.
=shames death=, II, 60, 41; III, 330, 14: death of shame, shameful
death.
=shamly=, III, 80, 337: shamefully.
=shane=, _pret._ of sheen, shine, IV, 469 a, 11.
=shank=, IV, 37, =A= 6, =B= 8: the projecting point of a hill, joining
it with the plain.
=shapen=, III, 79, 81, 85, 50: devised, ordained.
=share=, I, 388, =B= 7; IV, 416, 17: cutting, portion.
=shathmont.= See =shaftmont=.
=shaw=, =shawe=, I, 422, 3; III, 91, 1; 97, 1; V, 250, 25: wood,
thicket. See =wode shawe=. In Teviotdale shawe is “a piece of ground
which becomes suddenly flat at the bottom of a hill or steep bank.”
Jamieson. So, perhaps, V, 250, 25.
=shaw=, =sha=, show.
=shay=, V, 110, 8, 9: shy.
=she=, III, 318, 4: spurious Highland dialect, representing _he_,
_they_, and even _Highlander_, for which she, her, hernanesell have
become a nickname. (The Gaelic having no word for the neuter it, the
_masc._ e and _fem._ i do duty for the absent form. i in some Highland
districts is largely used in speaking of sexless objects.)
=sheaf=, =shefe=, of arrows, III, 3, 5; 62, 131: bundle of twenty-four.
Cf. II, 168, 5; III, 13, 9.
=shealin=, =shiel=, =shielin=, =shielen=, =shieling=, =shield=, IV,
258, 23; 259, 17; 260, 16; 262, 27, 29; 266, 17: herdsman’s hut.
=shear=, III, 307, 6, 8: several. (Scot. seir.)
=sheave=, =shive=, _n._, I, 470, 32; II, 358, 27; 367, 44; V, 16, 13,
14; 18, 3, 4; 219, 25: slice.
=sheave=, _v._, IV, 476, 7: slice.
=sheave-wisps=, V, 213, 5: wisps of straw from a sheaf, put by peasants
into their shoes for more warmth.
=shed=, II, 116, 27; 118, 21: a piece of ground on which corn grows, so
called as being separate from adjacent land.
=shed by= (hair), II, 129, 26, 27: parted, threw off from the face on
both sides. shed back, II, 135, 39 (shook back, 135, 38).
=shedd=, _pret._ See =sheede=.
=shee=, =shie=, I, 68, 9, 12; III, 271, =F= 9; 384, 9: shoe.
=sheed=, V, 251, 36: sheet.
=sheede=, I, 273, 43, 44: shed, spill.
=sheen=, =sheene=, =sheyne=, I, 490, 7; II, 52, 5, 11; 372, =A= =b= 2;
III, 24, 48; 91, 1; 97, 1: shining, bright, beautiful. (_bright_ is
also beautiful, I, 285, 25; 293, 2.) In, shawes been sheene, III, 91
and 97, 1; shadowes sheene, III, 24, 48, we must take sheene in the
secondary sense, beautiful.
=sheen=, =shene=, I, 176, 2, 7, 12; II, 395, 17; IV, 380, 26; 416, 12;
V, 306, 2, 3: shoes. See =schon=.
=sheen=, =shene=, _v._, III, 392, 9, 10: shine. _pret._ shane.
=sheene=, _n._, II, 183, 13: brightness, splendor (evidently a word of
Percy’s here).
=shefe.= See =sheaf=.
=shend=, III, 27, 114; 63, 140; 123, 13: put to shame, injure, destroy.
=shent(e)=, _p. p._, III, 27, 114: blamed. III, 75, 396; 123, 13: hurt,
etc.
=shete=, shoot. shete a peny, III, 97, 10, 11: shoot for a penny-stake.
_pret._ shet, III, 97, 12; shyt, III, 26, 83.
=sheu=, IV, 289, =F= 9: show.
=sheugh=, II, 238, 6; V, 108, =B= 1: trench, ditch, furrow.
=shew=, I, 299, a 13; II, 332, =J= 6: sew.
=shewed=, III, 450 b: represented.
=sheyne.= See =sheen=.
=shie=, shoe. See =shee=.
=shiel=, =shielen=, =shieling=, =shield=. See =shealin=.
=shill=, =schill=, I, 16, 1; 17, =E= 1; II, 254, 10; 382, 28; 383, 29;
386, 24; IV, 200, 2; 201, 1: shrill.
=shimmerd=, glittered.
=shin’d=, _pret._ of shine, IV, 240, 2.
=shirife=, =shirrfe=, =shrife=, =sheriff=. See =screfe=.
=shirrs=, shears.
=shive=, =sheave=, V, 219, 25: slice.
=shock=, _v._, IV, 106 b: collide, encounter.
=shoder=, V, 221, 10: shoulder.
=shogged=, III, 332, 14: moved away.
=shon=, =schon=, =shone=, =shoon(e)=, =shoun=, I, 69, 52; 71, 42; 73,
64; 78, 39; III, 65, 193; V, 83, 55: shoes.
=shook= (sword over the plain), II, 393, =K= 14: the MS. has shook, not
strook, but strook must at any rate be meant (cf. 380, =A= 32). See II,
378 a.
=shooled=, I, 184, 10; V, 210, 10: shovelled. See =shule=.
=shoon(e)=, =shoun=, shoes. See =shon=.
=shoon=, =shoun=, soon.
=shoot at sun and moon=, III, 201, 21; to the sun or the moon, III,
203, 18: they wish to have no mark measured, are ready to take any
distance.
=shope=, III, 59, 64: created.
=shopen=, =shapen=, III, 82, 50: devised, ordained.
=short-bread=, V, 262, 22: “a thick cake of fine flour and butter, to
which caraways and orange-peel are frequently added.” Jamieson. (A
sweet short-bread is still well known in Scotland.)
=shorten her=, I, 478, 14: while away the time for herself; cf. Germ,
kürzen, kurzweilen. See =shortsome=.
=shortlye and anone=, III, 23, 10: speedily.
=shortsome=, _adj._, II, 371, 2: enlivening, cheering.
=shortsome=, _v._, II, 370, 13, 14: divert (while away the time,
opposed to langsum). See =shorten=.
=shot=, o wheat, IV, 459, 2: field, patch.
=shot=, V, 76, 9; 127, 3: reckoning. trust me one shott, V, 15, 22.
=shot=, II, 256, =K= 2==schawit, looked at(?).
=shot=, _p. p._, IV, 458, 3: shod.
=shot-window=, II, 122, 5; 141, 10; 177, 24; 230, 9; 322, 7; 357, 8;
368, 3; 375, 22; 376, 37, 40; III, 23, 22; 105, 20; IV, 135, 19; 151,
6; 153, =E= 6; 154, 11; 428, 3; 493, 12; V, 248, 8. II, 141, a princess
looks out at a shot-window; II, 368, a lady draws her shot-window in
her bower, harps and sings; II, 376, a knight jumps to a shot-window
to escape; III, 105, Robin Hood glides out of a shot-window; IV,
135, a queen looks oer her shot-window; IV, 493, a knight goes in at
a shot-window.--“Windows called shots, or shutters of timber with a
few inches of glass above them.” Wodrow’s History, II, 286. But the
shot-window of recent times is one turning on a hinge, above, and
extensible at various angles by means of a perforated bar fitting into
a peg or tooth. Donaldson, Jamieson’s Dictionary, 1882, notes that in
the west of Scotland a bow-window is called an out-shot window. A
bow-window would be more convenient in some of the instances cited.
=shott=, V, 15, 22: reckoning (oddly used here as of an ale-house.) See
=shot=.
=shouir=, =shower=, III, 385: throe, pang. See =showr=.
=shoulder=, looked over the left, III, 339, 7; 368, 11; 369, 13, etc.:
apparently a gesture of vexation or of indignant perplexity. See the
passages cited at V, 286 a.
=shoun=, =shun=, shoes. See =shon=.
=shoun=, soon.
=shour=, sure.
=shourn=, V, 225, 5: shoulders,
=shouther=, =showther=, =shuder=, I, 21 b, 3; 302, =A= 7; 303, 9; 331,
=D= 2; 332, =F= 2; IV, 297, 10: shoulder.
=showded=, V, 124, =C= 15: swung.
=shower.= See =showr=.
=shower o his best love=, I, 476, =J= 4: share, or cut, of his best
loaf.
=showing-horne=, II, 437, 78: shoeing-horn, a pun on the beggar’s horn,
whether as a means of sponging liquor, or of helping one to take in
drink.
=showne=, _pret._, III, 37, 84: showed.
=showr=, =shower=, =shouir=, I, 68, 32; II, 105, 3; III, 385, 5; 386,
7: throe, paroxysm of pain.
=shradds=, III, 91, 1: coppices (Halliwell, perhaps conjecturally). The
equivalent shard, he says, is in Yorkshire an opening in a wood. (A. S.
scréadian, cut, dock?)
=shrewde=, =shrewed=, a term of vituperation; originally, cursed. thou
art a shrewed dettour, III, 61, 104; thou arte a shrewde hynde, III,
64, 164: perhaps ironical (devilish pretty). shrewde wyle, III, 65,
181: clever.
=shroggs=, III, 93, 28: rods, wands (serving for prickes, marks).
=shryuë=, III, 70, 287: sheriff. See =screfe=.
=shuder=, IV, 493, 8: shoulder. See =shouther=.
=shule=, _v._, IV, 207, 20: shovel. See =shooled=.
=shun=, =shoun=, shoes.
=shun=, III, 357, 41: better, shunte, as in the other texts, turn off,
aside. Shunte is to be understood in 43, 45, 47.
=shuped=, I, 204, =E= 2: shipped. (The reading may be sheeped.)
=shyt=, _pret._, III, 26, 83: shot.
=shyt=, _imperative_, III, 71, 314: shut. _p. p._, III, 25, 53: shut.
=si=, so.
=siccan=, =sic=, =sick=, =sicke=, =sicken=, such, such a.
=siccarlie=, III, 492, 27: so as to make all safe. sickerlie, III, 491,
5: securely. III, 491, 12: so as to make certain, make sure of the
effect.
=siccer=, =sicker= (siccer and honestly), III, 487, 9; IV, 31, =B= 6:
securely, safely.
=sich=, =sick=, _n._, sigh: II, 139, 6; 168, 15; 230, =C= 1.
=sich=, =sick=, _v._, I, 451, 12; V, 164, =D b= 10: sigh. _pret._
sicht, I, 73, 66; III, 453, 2. sikt, II, 241, 8. siched, I, 72, 21.
sight, IV, 503 f., 6, 21, 23. _pres. p._ sichand, sichan, sichin, II,
96, =I= 3, 4, 6; 471, 13; V, 41, 31; IV, 382, 6.
=sichin=, _n._, II, 286, =C= 10: sighing.
=sicht=, sight.
=sicke=, =sicken=, III, 367, 3; 441, 32; V, 194, 64 (sicken-like): such.
=sicker.= See =siccer=.
=sickles of ice=, =ickles of ice=, III, 152, 1; 154, f 1: icicles.
=side=, keeping her flocks on yon side, IV, 323, 1: ellipsis of hill,
river, or the like.
=side=, _adj._, II, 122, =H= 7, 8; 407, 9; 409, 15; 466, 37, 38;
469, 38, 39; IV, 165, 15; 283, 12; 285, 4; V, 267, 4: long, and so,
probably, IV, 130, 4; 134, 8. I, 80, 12, of stirrup too long, low for
the foot (Icel. síðr, demissus). saddle a steed side, IV, 464, 18:
wide. wear your boots sae side, I, 428, 8; 429, 5: of boots the tops
of which lap a good way over, or perhaps of boots wide at the tops; I,
430, 2. See =syde=.
=side be=, mother-in-law side be, II, 71, 11: seems to mean, side by,
by his side. Possibly, sud, should, be.
=sighan=, =sighend=, _pres. p._ of sigh.
=sight=, =sikt=, _pret._, IV, 503 f., 6, 21, 23: sighed. See =sich=,
_v._
=signd=, IV, 288, 10: that is, sind. Sind is to wash, rinse; here she
has simply wet her lips.
=signots=, took out the gowd signots, IV, 53, 13: ornaments, whether
seals or not, attached to the ears by “grips.” Three sygnets hang at a
gold ring, IV, 37, 13; 38, 13, which is taken off in the latter place,
and was, therefore, a finger-ring.
=sike=, =syke=, II, 238, 6; IV, 3, 28: ditch, trench (watercourse,
marshy bottom with a stream in it. Jamieson.) IV, 470, 25: (perhaps)
rivulet.
=sikt=, sighed.
=sile=, IV, 118, =C= 3: flow.
=silkie=, =selkie= (A. S. seolh), II, 494, 3, 4: seal.
=siller-knapped= (gloves), II, 134, 8, 13: ornamented with silver balls
or tassels. (golden-knobbed, 133, =D= 6.)
=silly.= silly tin, silly twine, II, 224, 12, 17: simple, mean, of
slight value. silly sisters, II, 311, 1: harmless, innocent? silly old
man, silly old woman, etc., III, 5 f., 10, 11, 20; 6 f., 9, 10; 9, =G=
9; 180 f., 3, 8, 9, 19; 271, 8: of a “puir body,” palmer, beggar. V,
129, 1; 130, 1; 131, =d= 1, =e= 1-3: of a supposedly simple old man
who turns out to be shrewd. V, 253 f., No 203, =D= 2, 8: (perhaps)
spiritless, cowardly. sit a silly sate: see =sit=.
=simmer=, II, 261, 10; V, 299, 4; etc.: summer. simmer-dale, II, 261,
8, 9.
=simple=, III, 163, 72: poor, scant.
=sin=, III, 281, 7; IV, 260, 17: son.
=sin=, II, 494, 6; IV, 77, 3; 280, =b= 22: sun.
=sin=, =sine=, =syne=, I, 16, =C= 9; 17, 7; 204, =E= 3; II, 32, 3; 160,
4, 7; 161, 5, 7; III, 433, 11; 436, 9 (?): since (temporal and causal),
then. II, 237, 6: when, as in Shakspere after verbs of remembering
(Winter’s ale, v, i, 219, etc.). See =syne=, then.
=sin-brunt=, V, 224, 19: sun-burnt.
=sinder=, II, 164 f., 18, 19, 21: sunder.
=sindle=, II, 261, 8: seldom.
=sindry=, II, 344, 4: several. IV, 219, =A= 5: sundry (people).
=sine=, then, since. See =sin= and =syne=.
=single=, liverie, IV, 261, 5: dress of a plain or inferior man;
IV, 334, 11, 12: dress of a private soldier. single man, sodger,
soldier-lad, IV, 335, =b=, =c=, =d= 16; 337, =f=, =g= 15; 338, =h=
after 15: private.
=sinner=, V, 254, 12: sooner.
=sinsyne=, =synsyne=, I, 227 b; III, 394, =J= 2; 396, =N= 2: since,
afterwards.
=sir=, title of parson: III, 217, 49.
=sit a sate=, IV, 469, 8: maintain or enjoy a position. (You may live
comfortably if you are well stocked with cattle, but only in a beggarly
or pitiable way with nothing but beauty.) “You shall sit at an easier
rent.” Scott’s Redgauntlet, Wandering Willie’s Tale. Falstaff sits at
ten pounds a week (his expenses came to that), Merry Wives, I, 3.
=sitt=, _p. p._, III, 400, 5: seated.
=sitten=, =sutten=, _p. p._ of sit, II, 273, 37; III, 433, 4.
=skail= (blood), IV, 373, 13: spill.
=skaith=, =skaeth=, _n._, I, 370, 5; II, 292 f., 8, 18: III, 162, 66:
harm. gien the skaeth, II, 364, 36; IV, 465, 35, 36: done a wrong,
injury.
=skaith=, _v._, III, 371, 21: harm.
=skaith frae=, _v._, I, 397, 14: keep from. (A. S. scéadan, Germ.
scheiden, O. Eng. shed, part, divide.) See =scathe=. A skaithie in
Scottish is a fence or wall to keep off wind.
=skeely=, =skilly=, III, 26, 1: skilful, intelligent.
=skeigh=, III, 495 b, 23, 24: shy, skittish.
=skelp=, V, 106, =E= 6: drub.
=skerry=, rocky. skerry fell, I, 325, 10: rocky hill.
=skerry=, =skerrie=, II, 494: a rock or rocky islet in the sea.
=skill=, =sckill=, =skylle=, reason, discernment, knowledge. a baron
of sckill, I, 295, 28: reasonable, of good judgment, etc. that’s but
skill, I, 295, 44: reason, something right and proper. the skylle I
sall þe telle wharefore, I, 328, 56: the reason why. can skill, little
they can skill of their train, etc., II, 445, 62; 450, 67, 69: Icel.
kunna skil, to know distinctions, have knowledge. could noe skill of
the whisstill heare, IV, 506, 70: perception (that is, literally, could
not hear whether there was a whistle or not). had no skill, IV, 213,
3: knew nothing of the matter, or, possibly, had no regard, felt no
approbation.
=skilly=, =skeely=, II, 97, 21: intelligent, knowing, skilful.
=skink=, I, 190 a: pour out liquor.
=skinkled=, II, 183, 19: sparkled.
=sklate=, II, 293, 15: slate.
=skomfishes=, III, 433, =C= 4, 7: stifles (discomfits).
=skorne=, III, 113, 77: disgrace, humiliation. See =scorn=.
=sky-setting=, I, 351, 31: sunset.
=skylle.= See =skill=.
=skyred=, IV, 413, 12, 14: startled, blenched, shrank back.
=slack=, II, 116, 20; 117, 14; 313, 23; III, 181, 29; 281, 12; 363,
note †; IV, 7, 27; 184, 2, 3; 467, 11; V, 250, 25; 262, 19. 1.) a gap
or narrow pass between two hills. 2.) low ground, a morass. It is often
not possible to determine which is intended. In III, 281, 12, the
meaning is morass. Plain ground will suit III, 181, 29. Such terms vary
according to locality and time. Cf. =slap=.
=slacke= (woe), V, 83, 44: lessen, mitigate.
=slade=, III, 92, 12: “a valley, ravine, plain.” Halliwell. Cf.
=slack=, =slap=.
=slae=, I, 450, 2: sloe.
=slap=, II, 120, 14; III, 185, 24, 25; V, 228, 26: a narrow pass
between two hills (==slack). In III, 185, 24, 25, there is a contrast
with glen, the word replacing the slack of III, 181, 29; perhaps, plain
ground. IV, 300, 12: a breach in a dyke or wall.
=slate=, =slait=, of whetting a sword by passing it over a straw or
the ground (Icel. sletta, to slap, or slétta, to level, smooth). has
slaited on the strae, II, 273, 30. slate it on the plain, IV, 491, 11.
slait it on the plain, V, 235, 32. See =strip=, =stroak=, =streak=,
=straik=, =strike=.
=slawe=, _p. p._ of slay, III, 14, 16, 17; 71, 306. y-slaw, III, 28,
140.
=slee=, sly.
=sleste=, =slist=, III, 70, 292; 79, 146: sliced, split.
=slet=, _pret._ of slit, III, 63, 146.
=slichting=, slighting.
=slight=, III, 473, 13: demolish. we’ll fecht them, we’ll slight them,
IV, 85, 5: make light of (?).
=slipe=, sleep.
=slist=, III, 70, 292: sliced, split.
=slo=, =sloe=, =sloo=, =slon=, I, 210, 9; III, 77, 438; 97, 8; 110, 19:
slay. _pret._ sloughe, III, 308, 25. _p. p._ slo, slowe, slone, II,
479, 17; III, 35, 22; 77, 428. slawe, y-slaw.
=slocken=, =sloken=, IV, 386, 16: quench.
=slode=, _pret._ of slide, II, 59, 22: split.
=sloe=, =sloo=, I, 210, 9; III, 77, 438: slay. _pret._ sloughe. _p. p._
slowe, slone. See =slo=.
=slogan=, III, 474, 32: war-cry, gathering word of a clan. Jamieson.
=sloken=, =slocken=, III, 473, 14: quench (fire), _p. p._, IV, 60 b,
after 10 (with _ellipsis of_ have).
=slough-hounds=, IV, 3, 15: sleuth-hounds, blood-hounds (slooth, b, 4,
15).
=sloughe=, _pret._ of slo, slay, III, 308, 25.
=slowe=, _p. p._ of slo, slay, II, 479, 17.
=sma=, small. of linen, I, 428, 18; 419, 3; II, 128, 5; 130, 4; 133,
=D= 3; 134, 7; 269, 15; III, 7, =E= 12: of fine texture. of the blast
of a horn, II, 258, 31; small, V, 83, 48: shrill, keen. of wine, I will
drain it sma, IV, 476, 8: should mean, strain it fine, or, pour out in
a thin stream, run it off gently; the intention seems to be, give but a
small quantity.
=smeek=, IV, 385, 25: smoke.
=smiddie=, IV, 470, 18: smithy. In smiddy-bour, II, 186, 12, bour for
room or workshop is strange.
=smirkling=, smirkling smile, IV, 117, 3: suppressed.
=smit=, II, 149, 2: noise, clash.
=smithered=, III, 268, 17: smothered.
=smoldereth=, III, 431, 19: smothereth.
=smooth=, II, 233, 14; V, 167, =A= 7: pass lightly over. smooth the
breast for swimming, see =breast=.
=smore=, V, 37, 6: smother.
=smotley=, V, 79, 15: pleasantly.
=snack=, IV, 415, 6: quick.
=snags=, III, 483, 7: protruding remnants of branches hewn off.
=sned=, II, 274, =C= 19; 462, 26: cut, lop. (misprinted sued, II, 462.)
=sneed=, V, 165, 4, 5: snood, fillet for a maiden’s hair.
=sneer=, IV, 18, 15; 19, 13: snort.
=sneeters=, V, 213, 10:==snotters, gatherings of snot.
=snell=, of weather, wind, frost, I, 342, 23; 344, 22; III, 435, 1; IV,
213, 17; 214, 4; V, 99, 2: sharp, keen. of a blast of a horn, III, 195,
7: keen, shrill. of talk, III, 492, 31: sharp, caustic.
=snoded=, tied with a snood.
=snood=, V, 306, 4, 5: a fillet with which a maiden’s hair was bound
up. See =sneed=.
=snotters=, V, 213, 10: gatherings of snot. See =sneeters=.
=soberly=, III, 487, 17: quietly, making no noise.
=socht=, =sought=, _pret._, I, 147, 11, 12; II, 30, 8; III, 466, 46:
asked for.
=sodde=, _pret._, V, 53, 103: seethed, boiled.
=solace=, I, 328, 53: pleasure. solaces, III, 287, 65: merry-makings,
diversions.
=soldan=, II, 59, 35-37: sultan, any pagan king; hence, giant. See
=soudan=.
=Soldanie=, =Soudonie=, V, 199 b, 33; 200 b, 33: Sultan’s people.
=solde=, I, 326, 4: should.
=some=, _with singular_, some clean white sheet, V, 294, 7.
=somers=, III, 67, 216, 224; 74, 374: sumpter-horses, pack-horses.
=sone=, at once.
=sone so=, I, 243, 8: as soon as.
=sonsie=, II, 370, 16: plump.
=soom=, =soum=, =sume=, =swoom=, II, 29, 19; III, 394, =K= 4; IV, 493,
9; 511 b, 4; V, 138, =B= 6: swim.
=soon=, III, 440, 13: early. soon at morn, IV, 446, 2: early in the
morning.
=soone=, II, 446, 92: swoon.
=sore=, as, they mighten a had, III, 441, 26: on whatever hard terms.
=sorn=, IV, 464, 14: sworn.
=sorners=, IV, 41, note *; 81 b: sojourners, properly those who take
free quarters (such may be expected to make free generally with
the property of those upon whom they impose themselves); “forcible
intruders, people quartering themselves on tenants, etc., masterful
beggars.”
=sorowe=, =sorrow=, III, 61, 96; IV, 174, 6; 241 b; V, 28, 55: sorry,
sorrowful, sad.
=sorraye=, II, 209, 9: sorrow.
=sorrowful=, III, 440, 12: sorry, pitiful.
=sorte=, III, 128, 97: set.
=souce=, V, 84, 7: the head, feet and ears of swine boiled and pickled.
=soud=, =sude=, should.
=soudan=, =sowdan=, =souden=, =soldan=, I, 54, 65; V, 195, 26; 197, 5.
=Soudron=, V, 192, 22: Southron.
=Soudronie=, V, 192, 33: Southronry.
=sough=, sound.
=sould=, should.
=soum=, =soom=, =sume=, II, 464, 2, 3; 474, =J= 5; V, 237, 9: swim.
=soun=, make bed saft and soun, IV, 279, 31, 32: smooth. lead the
bridle soun, II, 105, 14: steadily, so as not to cause a jolt by
jerking it.
=sound=, IV, 206, 10: safe and well. sailed it sound, II, 223, =F= 8:
safe.
=sound=, a sound, III, 165, 88: a-swoon.
=sound=, IV, 172, 12, 14; 173, 7, 10, 11: in the sleep of death.
=sounded=, IV, 99, 3: should probably be _rounded_, whispered.
=souner=, I, 442, 10: sounder.
=soup=, I, 324, =B= 9: sup.
=sour= (reek), III, 433, =C= 6: sharp, bitter.
=souter=, =soutter=, III, 282 a; IV, 262, 16: shoe-maker.
=south=, I, 334, 9: sweet.
=southen=, =southin=, II, 358, 16, 28; IV, 482 b, 2, 3, 4; 483, 9, 17,
18: southern.
=southering=, IV, 48, b 18: soldering (corruption of, seething).
=sowdan.= See =soudan=.
=sowe=, III, 41 b, line 17: to be corrected to sowter, cobbler (?).
=sowens=, V, 108, =B= 10: flummery; “oat-meal sowr’d amongst water
for some time, then boiled to a consistency, and eaten with milk or
butter.” Herd.
=sowt=, III, 13, 8: sought, peered, scanned.
=sowt=, south.
=soyt=, III, 110, 23; 111, 31, 43; 112, 55; V, 79, 30: sooth.
=spait=, III, 473, 26; 479, 2: flood.
=spak well in his mind=, V, 260, 15: sounded well, suited his own
thoughts.
=spakes=, I, 61, =C c=, 15: the bars of a bird-cage.
=spald.= See =spaul=.
=spang=, II, 394, 18: span.
=spare=, I, 302, =A= 10; 446, 10; 451, 11; III, 246, =E= 7: opening in
a gown or petticoat.
=sparks out o a weet=, IV, 379, 15: rain-drops from a shower. “Spirks,
spirkins, applied to drops of water in Scotland; sparks usually to
fire.” W. Forbes.
=sparred=, III, 97, 20; 99, 61: shut.
=spartled=, _v._, II, 94, 6: sprang. spartling, II, 306, 15: kicking,
struggling.
=spartles=, _n._, II, 94, 4: springs.
=spaul=, =spauld=, =spald=, =spole=, III, 473, 17; V, 105, =A= 3, =B=
6; 106, =D= 6, =E= 4; 107, 3: shoulder.
=spayed=, spied.
=speal=, I, 428, 17; 430, 6, 7: another form of scale, a wooden
drinking vessel.
=speals=, =spells=, II, 410, 24; V, 236, 18: chips.
=spear=, _v._, IV, 85, 1: spare.
=spear=, =speer=, =speir=, =spier=, =sper=, =ask=. See =spyrr=.
=speed=, prosperity, help.
=speel=, _v._, II, 73, 25: climb.
=speen=, IV, 287, 19; 357, =C= 8, 9: spoon.
=speer=, inquire. See =spyrr=.
=speere=, V, 15, 20: “a hole in the wall of the house, through which
the family received and answered the inquiries of strangers.” Ritson.
This, I fear, may be conjectural. Speere, a screen (wall) between
fire and door to keep off the wind is well known both in England and
Scotland. But the Heir seems to be outside and could not look up at
this speere.
=speir=, =ask=. See =spyrr=.
=spelle=, _v._, I, 329, 3: discourse.
=spells=, =speals=, II, 410, 24; V, 236, 18: chips.
=spendyd=, a spear, III, 309, 40: “=spanned=; hence, got ready, placed
in rest.” Skeat.
=sper=, V, 78, 5: inquire. See =spyrr=.
=spier-hawk=, IV, 484, 1, 2: sparrow-hawk.
=spin=, =spine=, gar your blood, IV, 84, 3, 6; V, 253, =D= 1: spirt (as
in Shakspere’s Henry V, iv, 2, spin in English eyes).
=spird=, II, 144, 12: spurred.
=spite=, I, 211, 27: spital.
=spleen=, _v._, III, 220, 5: regard with spleen, hatred.
=spleene=, _n._, III, 230, 70: animosity.
=splent= (splint), III, 473, 17: armor of overlapping plates.
=splinders=, II, 91, 26: splinters.
=splits=, II, 389, 10: strands.
=sply=, II, 252, 1: (perhaps miswritten) spy.
=spole=, III, 342, 63: (O. Fr. espaule) shoulder. See =spaul=.
=sporne=, _v._, III, 64, 161: kick.
=spreckl(e)d=, I, 159, 5; 160, 3: speckled.
=sprente=, III, 309, 32: sprang, spurted.
=spring=, IV, 265, 13: probably miswritten or corrupted for young,
which we find in the next stanza.
=spring=, I, 129, 17; 130, 20; 132, 13; 135, =O= 18, =P= 18, 19; IV,
312, 4; 313, 7: quick tune.
=spring= (well both clear and spring), II, 198 a, last line: spring
water, pure as a spring.
=sprunks=, fine, III, 221, 12: showily dressed women? (Cf. prank,
prink, Dan., Swed., Germ., prunk.)
=spulye=, _n._, III, 458 b: spoil.
=spulyie=, =spuilye=, =spuilzie=, _v._, III, 463 a; IV, 53, 11; 84, 5,
8: despoil.
=spunk-hole=, V, 213, 3 (spunk = fire): a hollow in the floor, where
the fire was made, fire-place.
=spurn(e)=, _n._, III, 310, 65, 66: kick. The word, though protected by
rhyme and by occurring twice, is suspicious. If spurn could be taken as
clash, encounter, collision, it might stand, but such a sense is forced.
=spurtle=, V, 92, 11, 12: stick for stirring porridge.
=spylle=, I, 327, 20: mar, destroy.
=spyrr=, =spire=, =spier=, =speir=, =speer=, =spear=, =sper= (A. S.
spyrian), I, 176, 17; 325, =B= 13; 349, =G= 9; 440, 10-15; III, 98, 41;
100, 64; V, 115, 4: ask, inquire. spear at, I, 151 a, 10; IV, 328, =A
b=, after 3: inquire of. I, 349, =G= 7; II, 268, 12; 272, 9, 18; 379,
12; IV, 203, 9; 205, 15: ask, request.
=squar=, =squer=, squire.
=square-wright=, V, 124, 3: carpenter, joiner.
=squeel=, =schele=, =schule=, II, 175 f., 1, 6; 306, 19; IV, 327, 8.
=squier=, II, 59, 30: = swire, neck.
=st=, as sign of the future. I’st, II, 449, 62; III, 411, 1; 413, 36;
thoust, ’st, I, 211, 29; 433, 8, 26; II, 44, 13; 442, 10; 449, 60, 61;
III, 277, 4; 411, 4; 432, 7; 477, 7; V, 50, 33. shee’st, she’st, II,
442, 3; 447, 3. you’st, II, 451, 88; III, 104, 6; 412, 12. (All from
English ballads.)
=sta=, _pret._ of steal, III, 464, 13, 14.
=stack=, I, 16, =B= 14: stalk.
=stad=, V, 248, 19: stood.
=staen=, stolen.
=stage=, at a, III, 98, 39: from a floor, story (?).
=stage=, III, 295, 3: stag.
=staig=, III, 301, =A a=, 3; IV, 26, 1: a young stallion.
=staking=, III, 138, 18: cutting into stakes (cleaving, 140, =c= 18;
stacking, 140, =d= 18).
=stale=, =stathle=, I, 18, =H= 9; 19, 12: the foundation of a stack,
the undermost layer of sheaves in a stack.
=stale strang=, V, 213, 5: urine long kept for a lye and smelling
strong. (But stale may = urine as well as strang.)
=stalle=, in strete and stalle, III, 101, 89: station; from the
contrast with street, we may infer the meaning to be, when in movement
(on the road) and when stationary, or housed.
=stamp= o the melten goud, IV, 471, 37: an embossed plate.
=stanch=, III, 364 b: check.
=stand= (of milk, water), I, 344, 34: a barrel set on end.
=stand=, briddel-(bridell-)stand, V, 228, 12, 22: suit of clothes
(bridal clothes).
=stand=, III, 453, =A= 14; IV, 515, 13: (of a court) sit. IV, 420, 9;
V, 222, 34; 269, 1: take place.
=stand=, IV, 152, =C= 11; stand out, III, 439, 2: stickle, scruple.
=stand na, nè, no(e), awe=, I, 421, 5; III, 350, 53; IV, 505, 54; 506,
69: _na_ may be a contraction of _in na_. na stand in awe, I, 419, 4;
stand not in awe, III, 345, 53.
=standen=, _p. p._ of stand, III, 361, =b=, =c= 64.
=stane=, II, 467, 56: i. e. the (stone) wall.
=stane-auld=, III, 9 f., 11, 12, 20: very old (Germ. stein-alt).
=stane-chucking=, I, 441, =E= 1: throwing the stone, as in =B= 2.
=stank=, IV, 47, 12, 13: (O. Fr. estanc) ditch.
=stap=, _n._ and _v._, I, 298, 4; II, 88, 8, 9: step.
=stap=, =stape=, stop. II, 494, 1: stop, stay, reside. will stap to
die, IV, 107, 7: shrink, hesitate.
=stap=, I, 439, 4, 5; 440, 5, 7; 504, 7; II, 294, 31, 32; 467, 41:
stuff, cram.
=stare=, III, 128, 104: (eyes) protrude, or, are fixed, cannot move (?).
=stare= (of hair), V, 66, 19: stand up.
=starf=, _pret._, V, 297 b: died.
=stark=, I, 69, 39; III, 474, 37: strong. stark thief, III, 365 b==the
English strong thief, one who uses violence. stark and stoor, II, 47,
5: in a moral sense, wanting in delicacy, rude, violent, or indecent.
the wind up stark, IV, 378, 5; 380, 11: _ellipsis of_ blew, came,
before _up_.
=starn=, =stern=, I, 440, 18; IV, 455, 10: (Icel. stjarna), star.
=start=, I, 341, 5; 343, 5; 347, 3; 348, 2: spring, jump. III, 164 b,
49; 342, 64: recoil, flinch, recede. _pret._ start, stert, I, 108 b, 8;
286, 56; II, 454, 56; III, 32, 81; 64, 159; IV, 477, 16: sprang. See
=stert=.
=state of my lande=, II, 446, 91; state of my father’s lands, 451, 98:
landed estate.
=stathle=, =stale=, I, 17, 12: the foundation of a stack, the undermost
layer of sheaves in a stack.
=staw=, II, 90, 23; 184, 13: stall.
=staw=, _pret._ of steal, II, 76, 25; 80 f., 9, 29; IV, 12, 13; 490, 30.
=stawn=, _p. p._ of steal, IV, 18, 19, 20.
=stay=, =stey=, IV, 262, 23: steep.
=stead(e)=, =steed(e)=. See =stede=.
=steal=, _pret._ sta, staw. _p. p._ stawn, stowen, stown, stoun.
stealed, steald, IV, 20, 16; 166, 2, 3. stelld, III, 459, 7.
=stean=, Marie’s stean, II, 183, 19: a stone seat at the door of St.
Mary’s Church.
=stear=, =steer=, III, 474, 33: stir, commotion.
=steck.= See =steek=.
=stede=, =steed(e)=, =stead(e)=, I, 334, 7; 411, 7, 16; II, 359, 19;
III, 60, 81; 74, 376; 79, 133; V, 194, 71, 72; 197, 55; 199, 71, 72:
place, dwelling-place. stand in stead, steed, steede, III, 344 f., 38,
44; 349, 38; IV, 505, 45: hold good, be kept, maintained, made good.
=steed=, I, 298, 4: stood.
=steek=, =steck=, =steik=, II, 336, =P= 2; IV, 188, 9; 279, 19, 27;
480, 4, 5; 514, 5: stick, shut, fasten. steekit (dor an window) to the
gin, IV, 480, 5: to the fastening.
=steek=, =steik=, _n._, II, 364, 30; IV, 483, 20: stitch with the
needle. III, 397, =A b= 5: stitch (of pain).
=steeking=, _n._, II, 361, 26: stitching.
=steel=, _pret._, I, 477, 4: stale, stole.
=steer=, =steir=, II, 21, 10, 11; 29, 13, 14: rudder.
=steer=, =stear=, II, 369, 12: disturbance.
=steer=, =sture=, I, 69, 39; 71, 31: strong, robust. (stor, big.)
=steer=, II, 161, 12; IV, 69, 15: disturb, meddle with (for harm).
=steer=, I, 251, =A= 13: stir, move.
=steik=, _n._, stitch. See =steek=.
=steik=, _v._, shut. See =steek=.
=steir=, _n._, rudder. See =steer=.
=stell=, steel.
=stelld=, _pret._ of steal, III, 459, 7.
=stelld=, IV, 110, 10: placed, planted.
=stende=, me stende, I, 243, 5: that people should stone.
=step-minnie=, II, 367 b: stepmother.
=stern=, =starn=, I, 326, 16: star.
=sterne=, III, 308, 30: stern (men).
=stert=, =start=, _pret._ of start, III, 66, 211: sallied. stert out of
the dore, sterte (start) to an offycer, stert hym to a borde, III, 26,
81; 32, 81; 62, 120, 125: rushed. stert to foot, IV, 224, 14: sprang to
their feet.
=steuen=, III, 94, 52: voice. vnsett steven, III, 93, 27: time not
previously fixed.
=stey=, =stay=, IV, 185, 10; 264, 15: steep.
=stiffe=, I, 293 f., 2, 9, 11; II, 55, 67: unyielding, stanch.
=still=, had your still, IV, 85, 7; V, 247, 14: hold your peace.
=stime=, =styme=, I, 482, =E=; III, 163 f., 78, 91: glimpse, ray,
particle of light.
=Stincher=, IV, 69, 6: a river of Carrick, Ayrshire. (Misprinted
stincher.)
=stingy=, IV, 316, 17: forbidding, cross.
=stint=, =stinte=, I, 334, 8; 411, 8, 17; 412, 28: stop.
=stirred=, III, 162, 49: should probably be stirted (shrank, flinched).
The other text has, started.
=stirt=, stirred.
=stock=, I, 419, 2; 421, 2, 4, etc.; II, 467, 56: the outer side of a
bed, opposite the wall (the bed, an enclosed box, being enterable at
this side only).
=stock=, I, 402, 5: (term of disparagement) wanting in vitality,
sensibility, youth, or what not.
=stogg=, IV, 480, 7, 8: stick, stab.
=stoll yellow=, IV, 453 a, =b= 13: corrupt; =a= has, gold that is
yellow.
=stomach will give him=, II, 447, 17: disposition will incline him. II,
450, 69: courage.
=stomached=, well, III, 335 b: courageous.
=stonde=, I, 334, 8; III, 286, 55: while, time. See =stound(e)=.
=stonyt=, I, 242, 11: stoneth, _old plural of the imperative_.
=stood=, V, 269, 1: took place. stood him upon, III, 228, 11: was
incumbent on. See =stand=.
=stoode=, my need stoode, III, 412, 16: existed.
=stook=, I, 485, 10: put into shocks.
=stoor=, stark and stoor, II, 47, 5: (store, big) in a moral sense,
rude, brutal.
=store=, I, 328, 50: big. See =stoor=.
=store=, buffets store, III, 145, 8: in plenty.
=store=, purse of gold and store, II, 461, 23: treasure (precious
things laid up). carryd the store (of constancy), V, 158, 16: the
totality.
=stot=, =stott=, IV, 12, =B= 4; 26, 1; 248, 19; 519, 6; 520, 6, 7:
young ox.
=stoun=, III, 388, 8: (stoun, stound, North of England, to smart with
pain, Scott. an acute intermittent pain) a painful attack.
=stoun=, _p. p._ of steal, III, 453, 10; V, 221, 24. See =stowen=.
=stound(e)=, =stonde=, III, 25, 68; 284, 3; 298, 55; V, 83, 42: time,
point, moment of time.
=stoup=, II, 344, 1; V, 91, 7, 8: pitcher, can, bucket (narrower at the
top than at the bottom).
=stour=, =stoure=, =stowre=, II, 55, 67; III, 26, 89; 298, 58; 309,
47; 441, 27: tumult, brawl, fight. stour of thy hand, III, 280, 37:
turbulence, destructiveness. III, 270, 16: disturbance, commotion.
=stour=, II, 195, notes, =A=; IV, 470, 20: dust.
=stourished=, III, 520 a: read _flourished_(?), blooming. (Cf. III,
373, 4.)
=stout(e)=, II, 282 f., 4, 17 (audacious), 18; III, 339, 5; IV, 503,
5, 7: haughty, high-mettled, bold. III, 411, 8 (traitor): audacious,
unflinching. V, 36 f., 9, 10: unabashed. I, 3, 3; IV, 197, 3: sturdy.
=stowen=, =stown=, _p. p._ of steal, I, 367, 14; II, 72, 23; 79, 38;
IV, 133, =H= 6, 7; 241 a. See =stoun=.
=stowre=, _n._ See =stour=.
=stowre=, _adj._, I, 293, 2: (originally, big) strong.
=stracht=, =straght=, III, 521 b, 272, 15; V, 236, 9: straight.
=strack=, struck.
=strae=, =stray=, =stro=, II, 162, 8; 169, 19; 185, 36; 261, 15, etc.:
straw.
=straik=, =streak=, =streek=, stroke. (a sword) oer (on) a strae
(strow), II, 261, 15; V, 37, 8: pass it over a straw to give it an
edge. See =streak=. straiked back hair, IV, 184, =E= 17: stroked.
straik (streek) wi a (the) wan(d), II, 188, 8; IV, 46, 3; 480, 15: of a
measure, to even at the top by passing a stick over.
=straine=, =streen=, the, V, 221, 24: evening of yesterday.
=strait= (a rope), IV, 398, 7, 25: straighten, stretch, tighten.
_pret._, of stirrups, III, 492, 27.
=strait=, IV, 262, 23, strait and stay: another word for _stay_,
_stey_, steep.
=straith=, =strath=, IV, 184 a: a valley through which a river runs.
=straked=, streaked. straked her trouth on a wand, II, 230, 9: a
symbolical act, of gently rubbing or passing the fingers over a wand,
by way of giving back a lover’s troth.
=strand=, I, 165, =M= 4; III, 460, 28; IV, 172, 15; 174, 16: stream.
Sometimes hardly more than a rhyme-word. In, Scotland’s strands,
strand, II, 289, 7; 294, 8, strand appears to be put for country,
bounds; and for nothing more definite than way, road, in he gaed in
the strand, etc., II, 177, 23; 289, =B= 2; III, 3, 5; IV, 210, 1. In,
stript it to the stran, II, 390, 28, stran cannot mean more than plain
(ground).
=strang=, V, 213, 5: urine kept for a lye, and smelling strong. See
=stale=.
=strang=, strange.
=strange=, V, 76, 16: backward, diffident.
=strated=, V, 228, 15: stretched.
=stratlins=, I, 368, 23: straddlings, stridings.
=straucht=, =straught=, _adj._ and _adv._, I, 146, 14; 251, =A= 10; II,
461, 5; IV, 94, 9; 214, 1: straight.
=straught=, V, 199 a, after 61: stretched. See =straucht=.
=stray.= See =strae=.
=streak=, =straik=, of whetting a sword by passing it over a straw
(cf. Germ. streichen, strike, smooth, whet). streakd it on a strow, V,
37, 8. straiked it oer a strae, II, 261, 15. See =stroak=, =strike=,
=strip=, =slate=.
=streak=, =streek=, I, 299, 17: stretch.
=streak by=, I, 454, 12: to put off, put away.
=stream-tail=, IV, 185, 12: the lower end of a stream as opposed to the
upper. Tail-race is the name given to the stream that carries away the
water after it has passed the mill. J. Aiken.
=streek=, =streak=, I, 299, 17; II, 139, 7, 12; 345, 30; V, 174, 4; 209
b, 6: stretch. streeket, streekit, strickit, _p. p._, II, 189, 38; IV,
128, 17; 316, 25; 318, =G= 9; 319, =H= 7: stretched, laid out, as dead.
=streekit.= See =straik=, and =streek=.
=streen=, =straine=, the streen, I, 57, =C= 13; II, 30, 4; III, 396,
=N= 1; IV, 47, 10, 18; V, 118, =B= 13; 221, 24; 257, 14: yestreen,
yester-night.
=strenger=, _compar._, V, 283, 18 (and so we should read in 8 instead
of scharpper): stronger.
=strickit.= See =streek=.
=strike=, of whetting a sword, etc., on a straw, or the ground. he ’s
struck it (rappier) in the straw, II, 249, 18. struck it (brand) ower
a strow, V, 226 b, 8; (dagger) 227, 21. struck it (bran) across the
plain, II, 380, 32. See =stroak=, =streak=, =strip=, =slate=.
=strinkled=, III, 4, 10; 5, =C= 6: sprinkled.
=strip=, of whetting a sword by passing it across straw, a stone, the
ground; replaced by stroak, streak, strike, slate, draw (cf. German
streifen). has striped it throw the straw, II, 159, 15. he stript it
to the stroe, II, 161, 13. he’s stripped it athwart the straw, II,
256, 12. he’s stripd it oer a stane, II, 396, 28. has stript it to the
stran, II, 390, 28. he drew it through the strae, II, 185, 36; three
times thro the strae, II, 162, 8. See =stroak=, etc.
=stro=, =stroe=, =strow=, =strae=, =stray=, II, 131, 16: straw.
=stroak=, =stroke=, of whetting a sword by passing it over a straw.
stroakd it oer a stro, strae, stray, II, 131, 16; 166, 17; 169, 19;
305, 8, 21; 306, 14. See =strip=, =streak=, =straik=, =strike=, =slate=.
=stroe=, =stro=, =strow=, II, 161, 13: straw.
=stroke.= See =stroak=.
=stroke=, III, 180, 13: probably corrupt; read _streke_, stretch?
(Scott. streik, streek).
=stronge th(i)efe=, =strong thief=, III, 13, 2; 67, 221; V, 77, 32; 83,
49: a thief using violence. See =stark thief=.
=strook=, _pret._ of strike, V, 135, b 18.
=strow=, =stro=, V, 37, 8; 226 b, 8; 227, 21: straw.
=strucken=, _p. p._ of strike, II, 48, 3; III, 487, 13.
=stryke pantere=, V, 72 b: a drinking formula, in response to fusty
bandyas.
=stubborn=, IV, 168, 8; 169, 6, 15; 170, =G= 4, 11, =H= 3, 4, 10: seems
to have its old meaning of truculent, fierce, rather than wilful,
mulish. See note to =H= 3, 4, IV, 177.
=stude=, =stede=, I, 244, 15: place.
=study=, =studie=, =studdy=, II, 374, =A= 2, =B= 2; 375, 3: stithy,
anvil.
=sturdy=, sturdy steel, II, 380, 15; 381, 10; 385, 4; 388, 13: stiff,
rigid (stubborn, II, 393, 10).
=sture=, =steer=, I, 71, 31; 69, 39: strong, robust. (stor, big.)
=sturt=, II, 249, 4: trouble, anger.
=stye=, I, 310, 9, 11, 13: pen, den. III, 100, 76: a smaller
thoroughfare, alley.
=styme=, I, 482, =E=. See =stime=.
=styrande=, III, 295, 3: stirring, dislodging. See note, 301.
=stythe=, I, 311, 9, 11: place.
=suan=, V, 277, 14: swain.
=suar=, III, 308, 27; 309, 42: sure, trusty.
=succeed the fame=, his fame, IV, 249, 9; 251, 10: corrupt for, exceed
in fame, or the like. See note, IV, 254, =E= 9.
=such an a=, IV, 312, 12: such a.
=sud=, =soud=, =suld=, should.
=suddled=, thy suddled silks, that thou wears every day, etc., II, 186,
5, 6, 10, 11: soiled, or rumpled, creased.
=suddling=, suddling silks, III, 398, =C= 9: soiling, which one would
not mind exposing to soiling. Perhaps we should read suddlit. See
=suddled=.
=suderen=, V, 217, 17: southern.
=suds=, leave you in the suds, V, 114, 12: in difficulty, in a strait.
=sugar-sops=, defined in dictionaries as sugar-plums. Fletcher’s
Monsieur Thomas, ii, 3, “Dandle her upon my knee, and give her
sugar-sops.” By analogy, bits of bread or cake dipped in sugar juice.
=sugh=, II, 258, 34: sough, sound (of wind).
=suit=, V, 215, 11; 223 b, 1; 246 b, 2: sweet.
=suith=, III, 468, =c= 9: sooth.
=sulle=, sell.
=sume=, V, 221, 11, 12; 237, 10: swim. See =soum=.
=sun-bruist=, IV, 469, 9: should, perhaps, be sun-burnt, as in the
following line.
=sundry=, II, 212, 17: asunder, apart.
=sune=, _adj._, V, 256, 12: sound.
=sunks=, IV, 262, 29: seats.
=supply=, IV, 154, 13: afford help. mak him some supply, V, 196, 39,
cf. 43: succor, reinforcement.
=surrount=, IV, 245, 3: Skene’s spelling for the original serundad,
surrounded.
=suspitious=, II, 448, 37, 38: worthy of Mrs. Malaprop, but not so easy
to unriddle: in her mouth, _auspicious_; here the modern _suggestive_,
significant, would suit.
=suþþe=, III, 514 b, 1st line: then.
=sutor=, I, 430, 2: shoemaker. See =souter=.
=sutten=, _p. p._ of sit, IV, 468, 6.
=swack=, IV, 415, 6: nimble.
=swack=, _v._, V, 305, 5: whack.
=swads=, =swades=, V, 134, 7; 135 b, 7: “swad in the North is a
pescod-shell: thence used for an empty shallow-headed fellow.” Blount,
in Halliwell. Also, a cant term for soldier.
=swaft=, =swaffed=, III, 511, 8, 11: swapped.
=swair=, =swaird=, laird o the Ochilberry swair, IV, 207, 27, 29; laird
o Athole swaird, IV, 198, 14: sware, neck or slope of a hill. (swaird,
a corruption of swair,=sward, grassland, is not likely.)
=swak=, III, 300, 21. See =swap=.
=swap=, =swak=, swords, with swords, III, 298, 50, 54; 299, 9; 300,
21 (swakked); 301, 30; 309, 31; 422, 73; IV, 487, 29; 500 f., 22, 35
(swakked); V, 240, 6, 9: smite.
=swarmd=, III, 347, g 45; IV, 505, 56, 59: climbed. (swarm, to climb a
tree that has no side branches to help one.)
=swarued=, =swerved=, III, 341, 53, 56; 345, 45: climbed (=swarmd, IV,
505, 56, 59).
=swat=, _pret._ of swe(a)t, III, 299, 9; 300, 21; 301, 30; 309, 31.
swett, III, 422, 73. swette, III, 298, 50, 54.
=swathed=, II, 305, 10: swaddled (as it were) in blood.
=swatter=, I, 135, =P= 11: flounder, splash.
=sway=, howsoeuer this geere will sway, III, 341, 47: whatever turn
this business may take, however this affair may turn out.
=swear=, _pret._, swore.
=sweauen=, =sweuen=, II, 45, 18; III, 91, 4: dream.
=sweer=, II, 61, 4; IV, 229, 20: slow, reluctant. III, 160, 14:
reluctant (to part with money).
=swerers=, quest of, III, 25, 69: jurors.
=swerved=, III, 347, =d=, =e=, =f= 45: climbed. See =swarued=.
=swet=, =swett=, =swette=, _pret._ of =swe(a)t=. See =swat=.
=swetter=, _compar._, V, 283, 9, 19: sweeter.
=sweven=, =sweauen=, II, 45, 18; III, 91, 4: dream.
=sweythyli=, V, 80, 45: swiftly.
=swick=, IV, 438, 12: blame.
=swikele=, I, 243, 4: deceptive, treacherous.
=swilled=, I, 287, 72: tossed about or shook, as in rinsing (but in
this case to effect a mixture).
=swimd=, =swimmed=, _pret._ of swim, II, 16, 5; 24, =F= 9; IV, 129, 5;
130, =D= 9.
=swinke=, III, 171 f., 8, 26: labor.
=swire=, =swyre=, I, 295, 34; III, 91 a: neck. IV, 5, 2; 7, 27; V, 249,
2: “the declination of a mountain or hill, near the summit.” Jamieson.
=swith=, II, 55, 67; 248, 18: quickly.
=swither=, III, 268, 17; 272, 21: trepidation.
=swittert=, I, 129, 11: struggled, floundered, splashed (made spasmodic
motions to keep herself up).
=swoghynge=, _n._, I, 327, 31: sounding.
=swoom=, V, 151, =F= 2: swim.
=swoond=, =swound=, _n._, I, 434, 29; II, 105, 19; III, 373, =A= 4:
swoon.
=swumd=, _p. p._ of swim, III, 482, 25.
=swylke=, I, 327, 15: such.
=swyre=, =swire=, III, 91 a: neck.
=syde=, I, 333, 3: (of beard) long, hanging down. I, 426, 3: of a horn
worn low. See =side=.
=syke=, =sike=, II, 238, 6; IV, 3, 28: ditch, trench. IV, 470, 25:
perhaps, rivulet. (water-course, marshy bottom with a stream in it.
Jamieson.)
=syne=, =sayn=, =san=, =sane=, I, 17 f., =F= 2, 7; 127, 27; 347, 9;
III, 437, 16, 20, 21, 24: then, afterwards. I, 204, =E= 3; V, 306 b, 1;
III, 436, 9 (?): since.
=synsyne=, since. See =sinsyne=.
=sypress=, =cypress=, III, 148, 10; 150, =b= 10: crape (veil).
=syre=, IV, 21, 10: (sewer) drain, gutter.
=syt=, III, 70, 280: old contracted form of sitteth.
=sythis=, I, 327, 21: times.
T
=tabean brirben= (kame), II, 217, 2, 4: printed by Herd, Tabean
birben. Jamieson conjectured for Tabean, ‘made at Tabia, Italy.’ Dr
C. Mackay very properly remarks that Tabia was not known as a place
of manufacture for combs. He suggests a Gaelic origin: taobh, a side,
taobhan, sides; bior, a pin, point, prickle, the tooth of a comb; bean,
a woman; whence taobhan bior bean, the side comb of a woman. Whether
this is good Gaelic, I am myself unable to say; but it is a simple
criticism that a woman’s hair is not combed with a side-comb. The
passage is undoubtedly corrupt. In IV, 471, 2, we have, a haw bayberry
kame, also corrupt; bayberry was heard for whatever tabean brirben
stands for. One copy had birchen, IV, 471, note to 221.
=table=, take vp the, III, 29, 142: take away. the tables were laid on
trestles and easily handled, removed, and, as we often see in ballads,
kicked over. drew her table, V, 304, 13: see explanation at V, 304 a.
=tack= (of needlework), II, 30, =L= 1: attachment by stitching,
needle-tack, II, 217, 5.
=tack=, took.
=tacken=, =taiken=, IV, 515, 12: token.
=tae=, II, 147, 4: too.
=tae=, the tae, ==ae, one. See =tane=.
=taen=, =tane=, =tean=, =teyne=, _p. p._, taken.
=taiglet=, =taiglit=, IV, 195, 4; 196, 9: tarried.
=taiken=, =tacken=, I, 396, 5, 6: token.
=Tailliant=, =Talliant=, II, 383, 22, 24, 25; 385, 23, 25, 26; 387, 17,
19, 20; 388, 16, 18, 19: Italian.
=taipy-tapples=, I, 303, =D= 5: misreading of saipy-sapples, which see.
=tait.= See =tate=.
=take=, V, 277, 2: talk.
=take=, III, 60, 72, 76; 62, 123; 65, 194; 73, 351; 110, 9: hand over,
give. I, 465, 18; 472, 28; II, 108, 17; 271, 17; 273, 23; III, 110, 18;
472, 9; IV, 508, 5: deliver a blow, strike.
=take on= (lawing), IV, 175, =N= 4: run up (reckoning).
=take road=, =take foot=, II, 62 b, 14: make off.
=take sworne=, III, 340, 34; IV, 504, 34; V, 52, 73: take an oath of,
put under oath.
=take truce=, II, 443, 39; 449, 44; III, 469 a: take trewes, pledges of
good faith, for suspension of hostility. take peace, III, 278 f., 3, 6:
perhaps formed upon take truce.
=take up= (the table), III, 29, 142: clear away (remove the boards).
See =table=. take up (dogs), III, 125, 35, 36: stop, restrain, call
off(?).
=take with=, III, 413, 47; IV, 334, 13: take up with, put up with,
submit to.
=takle=, =takyll=, III, 70, 288; 75 f., 398, 404: arrow.
=talbott=, III, 333, 28: a species of hound.
=talents.=
The talents of golde were on her head sette Hanged low downe to her
knee.
II, 52, 17: talents probably refers to the weight or value of gold worn
in massive ornaments (cf. a weight of goud hung at her chin, I, 472,
24). It is not likely that the lady wore coins.
=talk=, IV, 13, 12: should probably be _lack_, reproach, blame. The
reading in =A= 18; =D= 5, is suspicious; lack, reproach, is in =E= 16.
=talkitive=, IV, 13, =D= 8: used for talkativeness.
=Talliant.= See =Tailliant=.
=tamper ye at=, keep ye up and, IV, 226, 13: seems to be corrupt, cf.
221, 17, keep ye up i temper guid. tamper may be meant for temper, in
the sense of putting a machine into working order, try expedients to
humor or manage you.
=tane=, the tane, the tither, tother, I, 253, 1; II, 104, 30; 132, 18;
190, 42; 212, 16. See =tean=, =ton=.
=tane=, =taen=, =tean=, =teyne=, _p. p._, taken. tane with me, IV, 98,
12: occupied, engrossed, captivated (seized or smitten with compassion
for, love?) tane sworn (I am), V, 52, 73: of one who has taken an oath.
=tangle=, V, 259 a, 11: sea-weed.
=taps=, V, 173, 8: tops, tips (of heather).
=Targalley=, V, 141, =c= 1, 2: perhaps a corruption of Turk (Turkish)
galley, cf. =C=, =a=, =f=, =g=.
=targats=, =targits=, III, 363, note *; 371, 26, 27: tassels.
=targe=, III, 75, 385: “Targe or chartyr. Carta.” Prompt. Parv. “quatre
grosses blancs appellés targes.” Ducange, targa. (Corrected from
_tarpe_.)
=tarlottus=, tynkerris in tarlottus, III, 41 b(?).
=tarnd=, V, 303 a: turned.
=tarpe=, III, 75, 385; 80, 385: emended to _targe_.
=tasse=, V, 37, 9: cup (tarse in MS.).
=tate=, =tait=, =teet=, =tet=, =tette=, I, 86, 15; 130, =E= 14; 323, 2;
II, 189, 23; 191, 18; 194, 27; 389, 16; IV, 449, 15: lock (of hair, of
mane).
=tattles=, =tittles=, I, 302, =B= 7: tits, bits.
=taucher=, =toucher=, =tocher=, dowry. See =toucher=.
=tauchy=, I, 302, 10: greasy.
=taul=, told.
=taunt=, bide to taunt, II, 272, 11: endure taunting(?).
=tay=, tie.
=tayened=, =tayned=, V, 228, 26, 27: (tined) lost, killed.
=teacht=, IV, 150, =g= 25, 30: taught.
=teall=, tale.
=tean=, IV, 456 f., 5, 24; 515, 12; V, 36, 11, 15: taken. See =taen=.
=tean=, the tean, the eather, V, 224, 27: the one, the other. See
=tane=.
=tear begane this spurn=, III, 310, 65: see note, 307.
=tee=, IV, 446, 7:==tie, 447, 7. glove tee, V, 300, 10, 16, 19.
=tee=, ti, I, 300, 7, 9, 15; II, 30, 4: to, too.
=teem=, =toom=, II, 169, 13; IV, 182, =F= 5: empty.
=teem=, I, 444, =G b= 2: pour.
=teemed=, II, 435, 36: allowed.
=teen=, =teene=, tithe. See =teind=.
=teene=, =tene=, I, 328, 40; III, 24, 48; 37, 63; 60, 78; 62, 128;
66, 211; 72, 329; 230, 70; 412, 22; 443, 1: injury, wrath, vexation,
annoyance, grief, trouble.
=teenouslye=, III, 366, 21: angrily,
=teet.= See =tate=.
=teeth=, I, 305, =A= 12: tooth.
=teind=, =teein=, =tiend=, =tene=, =teen=, I, 342, 24; 344, 23; 350,
28; 354, 32; 452, 3; III, 504 b, 9; IV, 456, 15; 458, 16: tithe.
=teindings=, IV, 455, 18: tithings.
=tell=, till, to.
=tempeng=, =tempen=, V, 165 f., 6, 9, 10: tempting.
=temper=, set them up in temper wood, IV, 222, 20: corrupted, as will
appear from the conclusion of the other versions. Parts of two stanzas
are mixed.
=tene=, _v._, III, 110, 13: do harm to.
=tene=, _n._ See =teene=.
=tenements=, V, 77, 38: holdings (whether of lands or houses does not
appear here).
=tenish=, V, 245 a, 8: tennis.
=tent=, _n._, II, 139, 11; IV, 223, 3; 390, 4: heed.
=tent=, _v._, I, 74, 81; III, 478, 28: take care of, guard, watch.
=tet=, =tette=. See =tate=.
=tew=, V, 303 a: two.
=teyne=, IV, 504, 26: taken. See =taen=.
=teytheyng=, =tythyng=, V, 79, 25: tidings,
=tha=, then. See =tho=.
=tha=, V, 296 a: the.
=thae=, I, 369, 3; 427, 15; 447, 14; II, 190, 43; IV, 69, 12; 258, 27;
470, 28, 29: they, them, those, these.
=thairbut=, =thairben=, IV, 291, after 11: out there, in there.
=thar=, I, 334, 8: it is necessary (it is not necessary to hinder thee
of thine errand).
=that=, II, 451, 93: till that.
=that=, _imperative particle_, anone that you tell me! III, 27, 118. no
peny that I se! III, 58, 41; 68, 246. no ferther that thou gone! III,
67, 219.
=that=, _superfluous_, I, 273, 38; 284, 7; II, 58, 6; 433, 3; 434, 16,
18; 436, 59; 437, 89; 442, 18; 444, 41; III, 276, 1; 277, 18, 19; 341,
46, 54, 57; 413, 39; IV, 503, 8; V, 48, 6. (Very common in the Percy
MS., where all the above, excepting one, occur.)
=that=, _plur._, that two lords, II, 130, 28, 29. See =this=.
=that ... his===whose, IV, 330, Appendix, 2.
=that was her own=, II, 73, 20: _that_ referring to roses and ribbons,
or the bridal relation, or to both.
=the=, =thé=, I, 284 f., 9, 30; III, 307 f., 3, 8, 12, 25, 28; 419 f.,
14, 33; 421, 45, 65; 477, 4; 479, 38; V, 263, 7, 9, 11, 12: they.
=the=, =thé=, I, 296, 50: thee.
=the day=, I, 356, 56; II, 32, =Q= 2; 248, 5; 285, 14: to-day.
=the morn=, II, 104, 18; III, 480, 18; 482, 14; 488, 19; V, 300, 17;
307, 7: to-morrow. the morn’s nicht, II, 208, =C= 9: to-morrow night.
=the night=, =the nicht=, I, 303, =C= 4; 304, =E= 4; III, 480, 18; 488,
19; V, 299 a, 1: to-night.
=the streen=, yestreen. See =streen=.
=the=, IV, 494, 29: to be corrected to _she_; _they_ in the next line
to mean the mill-people.
=the=, =thee=, =then=, =thye=, II, 164, 17; III, 67, 234; 78, 452; 113,
81; V, 76, 11; 79, 14; 82 f., 25, 27, etc.: thrive, prosper.
=thee=, III, 6, 20: for _thou_.
=theek=, I, 253, 4: thatch, _pret. and p. p._ theekit, theekd, IV, 76
f., 1, 2, 4; 458 b, 9: thatched, roofed.
=theer=, V, 296 a: there.
=thegither=, =thegithar=, =thegether=, III, 261, 3; V, 217 b, No 49, 1:
together.
=their.= See =thir=.
=then=, _v._ See =the=.
=there=, the diel o there, III, 488, 26: seems to mean _of that_; but
we have, devil be there in 43, as an equivalent phrase.
=there=, III, 504 a, 14; IV, 465, 25, 26; 485, 24; 510 a, 2: there is.
III, 489, 9: there are (or, there is, Scottice).
=there down=, downwards, down.
=theretoo=, III, 64, 172: besides.
=thes=, III, 111, 34; 113, 76: thus. See =this=.
=they=, II, 434 f., 25, 38; 437, 78; 442 f., 19, 29: the (frequent in
Percy MS.).
=thick=, spak thick, I, 343, 13: not articulating distinctly (from
emotion).
=thick=, III, 35, 29: thilke, that.
=thie=, I, 19, 14: 330, =B= 2; 331, =C= 2, =D= 2: thigh.
=thief=, foul thief, V, 123, 14; 184, 44: devil.
=thiggin=, V, 117, 2: begging, levying supplies.
=thimber=, I, 330, =A= 2: (Icelandic þungbærr, heavy to bear?) heavy,
massive. Not understood and changed to nimble, nimle, I, 332, =F= 2,
=G= 2, umber, I, 331, =C= 2.
=think=, =thynk=, III, 27, 98; 58, 37, 44; 60, 82: seem. me thinke, me
thynke, methink, III, 81, 37; 153, =c= 5; 158, =d= 17; 321 b; V, 82,
26, 41: methinketh, methinks. See =thoghte=, =thouth=.
=think lang= (A. S. lang thyncan, seem long), thouth me nouthe lange,
I, 334, 5, 9: seemed not long, amused me, impressed me pleasantly. In
Scottish, personal, with substitution of _think_ for _seem_. think
lang, I, 370, 4; V, 115, 2: find the time wearisome, suffer from
_ennui_. I think lang, I, 368, 35, 37, 39; 506, 2: long for. I’ll never
think lang, IV, 257, 10: shall never be discontented, she thought
(thocht) lang, I, 478, 14; II, 76, 11; 78, 14: was weary with waiting.
keep frae thinking lang, I, 467, 16, 20. keep him on-thought long, I,
478, 13. See =unthought lang=.
=thir=, =their=, I, 5, =C= 5; 329, 61; 482, =C b= 11; II, 78, 23, 24;
271, 21; III, 441, 34, 35; 464, 4; IV, 7, 30; 476, 4, 5; V, 115, 2;
195, 9, 10: these, those.
=thirld in his ear=, II, 208, 5: thrilled.
=thirled at the pin=, II, 121, 15: tirled, rattled.
=this=, _pl._, this bonny boys, II, 81, 37; this twa, II, 158 f., 1,
19. See =that=.
=this=, =thes=, =thys=, III, 73, 346; 111, 34; 113, 76; IV, 210, 4; V,
283, 2: thus.
=tho=, III, 28, 138; 34, 7, 11; 36, 44; 111, 30: then.
=thoe=, III, 285, 33: they (possibly, then).
=thoghte=, I, 328, 50: (probably) seemed. See =think=.
=thole=, =thoule=, I, 508, 8; II, 46, 2; 124, 38; 314, 10; IV, 17, 2;
21, 16; 278, 12; V, 229, 32: bear, suffer (IV, 17, 2: like dree, be
capable of.)
=thorn=, II, 27, =I= 6: dialectic variation of forn, =J= 6, _partic._
of fare: fill yourselves with good fare.
=thornd=, II, 110, 24: fared.
=thoth=, =thouth=, I, 334, 7, 8: though.
=thother=, the, III, 111, 43: tother, other.
=thou=, though.
=thou is=, =thou’s=, III, 483, 31; 488, 24.
=thou sitts=, =thou rydes=, III, 479, 35.
=thou will=, =thou made=, =thou was=, =thou took=, etc., _2 pers.
sing._ without termination: I, 221, =C= 9-11, 222 =E= 11-17; 223, 12,
16.
=thought lang=, I, 370, 4; 478, 14, etc. See =think lang=.
=thoule=, II, 159, 20: suffer, put up with. See =thole=.
=thouth=, I, 334, 5, 8, 9: seemed. See =think=.
=thouth=, I, 334, 8: though. See =thoth=.
=thowt=, _n._, V, 283, 20: thought.
=thra=, =thrae=, IV, 128, 1; 220, 2; 369 b; 446, 8; 465, 34; 470, 20;
479, 3; 518, 10; V, 197, 3, 13: dialectic variety of fra, frae, from.
=thrae=, I, 170, 6: through.
=thrall=, III, 480, 15: bondage.
=thrang=, V, 115, 2: intimate, familiar.
=thrashes=, =threshes=, IV, 77, =b= 4: thrushes, rushes.
=thrashin oer his songs= (of blackbird), I, 133, =M= 3, 5: repeating,
or practising.
=thrast=, _pret._, III, 98, 25: pressed.
=thrave=, I, 21, 10: twenty-four sheaves of corn, two shocks.
=thraw=, II, 146, 14; 147, 15; 149, 14; 283, 16; IV, 479, 8: twist,
contort. _pret._ threw. _p. p._ thrawen, thrawin, thrawn, IV, 348, 6,
7; 349, =b= 3; 350, =B= =b=, after 5; V, 273, No 239, 3.
=thrawin=, I, 465, 12: thrown.
=thrawn=, twisted. See =thraw=.
=thrawn=, IV, 465, 20: ill-humoredly.
=threefold oer a tree=, III, 267, 9: with a double curve, over a stick.
=threesome=, II, 270, 30: three together.
=threshes=, =thrashes=, IV, 258 f., 5, 20: rushes.
=threty=, thirty.
=threw=, _pret._ of thraw, I, 102, 18; 492, 18; II, 111, 21; 183, 30;
185, 40; 208, 12; 286, 16; V, 262, 24: twisted, intertwined. III, 180,
10, Robin he lope, Robin he threw: may be, threw himself about, or
twisted twirled, showing his suppleness.
=thrien=, I, 244, 18: thrice.
=thrild vpon=, =thirled at=, a pinn, II, 121, 15; 138, 10, 16: tirled,
rattled. See =pin=.
=thrill=, II, 291, 27: pierce, penetrate.
=thristle-cock=, I, 427, 8; thristle-throat, I, 429, 8: throstle,
thrush.
=throch=, II, 30, 6; 256, 12: through.
=throly=, III, 98, 25: strenuously, doggedly.
=thronge=, III, 25, 56: pressed, made his way.
=throw=, _intrans._, fyer out of his eyen did throw, I, 211, 23: dart,
shoot.
=throwardlie=, III, 365 a: frowardly, crossly, ill-temperedly.
=throwe=, III, 78, 448: space of time.
=thrown=, IV, 249, =F= 3: corrupted from _this road_; cf. =A= 6; =B= 7;
=C= 9; =D= 6.
=þrumme=, III, 13, 9: the extremity of a weaver’s warp, from six
to nine inches long, serving to hold arrows. Cf. II, 168, 5,
four-and-twenty arrows laced in a whang.
=thrusty=, IV, 172, 4: trusty? (rusted, 173, =K= 4.)
=thurst=, IV, 60 b, 6: thrust.
=thryfte=, euyll thryfte, III, 67, 220: ill thriving, ill speed, bad
luck.
=thu=, V, 283, 13: thou.
=thye=, thigh.
=thye=, II, 241, 14: thrive. See =the=.
=thys=, V, 283, 2: thus. See =this=.
=ti=, I, 299, 13: to; too.
=ticht.= See =tight=.
=tide=, =tyde=, III, 299, =C= 1; 432, 15; 473, 11; V, 83, 49: time.
into the tide, V, 160, 2; by the tide, 163, 4; 164, 1: at the time, now.
=tidive=, tidive hour, II, 257, 15: timely, early? (the hour may be
early morning).
=tiend=, tithe. See =teind=.
=tier=, V, 151, =F= 1, should be, tree.
=tift=, II, 183, 17: puff, whiff.
=tight=, =ticht=, V, 151, =E= 3; 161, 2: (of a man) well built. V, 258,
4: (of a maid) neatly shaped, jimp.
=till=, _n._, II, 409, 12: toil.
=till=, till see, II, 191, 22; till and frae, II, 71, 15: to. At
III, 338 b, it is said that in =A= 66, _till_ may mean _while_. Here
Jamieson was followed: but there appears to be only one case to cite,
in a single MS. of Barbour’s Brus, where others read quhil. The remark
must be withdrawn, though _while_ might be offered as an emendation,
since it is, for obvious reasons, far more probable than _till_.
=till=, _v._, II, 54, 57: entice.
=timmer=, timber, wooden.
=timouslie=, IV, 53, 1: early.
=tine=, =tyne=, =tayen=, I, 16, =C= 14; II, 70, 30; 313, 21; 336, =O=
8, 9; III, 75, 398; lose. I, 324, =B= 7; IV, 454, 3; 455, 11; 458, 5:
to be lost, perish. I, 115, 11: cause to perish. _pret._ and _p. p._
tint, IV, 18, 20; 127, 14; 165, 15; V, 99 =C= 4: lost.
=tinye=, _n._, a little tinye, V, 51, 69: bit.
=tip=, =tippet= (of horse’s mane), IV, 410, 18, 21; 413, 13:==tate,
lock.
=tirl at the pin=, trill, rattle, at that part of the door-fastening
which lifts the latch. See =pin=.
=tit=, V, 125, 9: quick pull.
=tithyngus=, III, 98, 40-42: tidings.
=tittles and tattles=, I, 302, =B= 7: tits, bits.
=to=, III, 110, 14, 16: two.
=to=, till.
=tobreke=, _subj._, I, 243, 6: break, burst (apart), _p. p._ to-broke,
broken up.
=tocher=, =toucher=, =tougher=, =taucher=, _n._ See =toucher=.
=to-clouted= (gowne), III, 179 a: with patches set to it.
=tod=, I, 355, 44; IV, 193, 11; 194, 4; 196, 9; 196, 13, etc.: fox.
=toe from home=, boune, IV, 504, 24: to a place away from? (perhaps
corrupt).
=to-hande=, III, 110, 14: two-hand, two-handed.
=tolbooth=, =tolbuith=, =tollbooth=, III, 482, 18; 489 f., 9, 10, 15:
prison, jail. That in Edinburgh, III, 385, 12; 386, 12; 389, 14; IV,
508 b, 8; 509, 9 (Towbooth).
=tolde=, III, 59, 67-69; 68, 247: counted.
=to-morne=, I, 328, 57: to-morrow.
=ton=, =tone=, the, III, 296 f., 12, 30: the one. tone, tother, II, 53,
27, 32. the tone, the tother, II, 51, 2. See =tane=.
=tooke=, III, 405, 14: put. See =take=.
=tooken vpon one part=, III, 404, 3: engaged, enlisted, on the same
side.
=toom=, =teem=, I, 72, 17; II, 124, 38; IV, 143, =B= 1, 3, =C= 6; 180,
8; V, 196, 53; 251, 30, 32; 256, 8: empty.
=toomly=, IV, 181, 11: empty.
=toorin=, I, 500, =R= 1-4: cooing. (Imitative, cf. Scott. curr, curroo,
Germ, gurren.)
=too-too=, =to-towe=, III, 217, =b=, =c=, 41: a strong _too_.
=top=, IV, 288, =E= 3: should be _toss_, toast.
=topcastle=, III, 340 f., 32, 58; 344 f., 28, 46; IV, 504 f., 32, 58
(topcasaille)==top. See =topps=.
=topps=, III, 419, 15; IV, 506, 61: “Among seamen tops are taken for
those round frames of board that lye upon the cross-trees, near the
heads of the masts, where they get up to furle or loose the topsails.”
Phillips. A noble ship at III, 419, 15, has five tops.
=tor= (of saddle), IV, 410, 21: pommel.
=tor=, =tore=, II, 323, 11; 334, =M= 2; IV, 480, 8: projection or knob
at the corner of old-fashioned cradles (as also, ornamental balls
surmounting the backs of chairs).
=torne=, III, 112, 56: turn, bout.
=tortyll-tre=, III, 112, 56: corruptly for trystell-tre.
=toss=, IV, 288, =E= 3: toast (as a beauty). (misprinted top.)
=to t’=, III, 439, 4: to the.
=to-towe=, III, 430, 1: too-too, a strong _too_.
=toucher=, =tougher=, =taucher=, _n._, IV, 283 f., 10, 22, 23; 285, 12,
13; 286, 11; 287, 4; 487, 30; 489, 29; V, 267, 12, 13: tocher, dowry.
=toucher=, _v._, IV, 284, 23: pay a dowry to.
=touchered=, V, 224, 11: dowered.
=toun=, =town=, IV, 200, 19; 201, 11; 202, =K= 5; 203, 13; V, 228, 27:
a farmer’s steading or place (or, a small collection of houses). V,
267, 7: perhaps simply house.
=toun-head=, V, 267, 11: centre or principal part of the town.
=tour=, lyin in a tour, IV, 87, 20: continuous route.
=tout=, I, 274, 18: backside.
=touting=, blowing.
=tow=, III, 396, =N= 8; 449 b; V, 125, 9: rope.
=tow=, III, 434, 17, 18; 435, 12: let down by a rope. V, 123, 15, 16:
draw up and let down.
=towbooth=. See =tolbooth=.
=toweld=, II, 194, 22: twilled (?).
=town.= See =toun=.
=tows=, went to the, IV, 380, 8: tows==touts, drinking-bouts, fell to
drinking (in contrast to Allan, who went to pray. _Tows_ cannot be
ropes; they had not gone aboard the ship).
=trace=, II, 479, 16: track, path, way.
=trachled=, V, 169, 9: tired out.
=trade=, II, 454, 37: should be train, as in 445, 62; 450, 67.
=train=, IV, 107, 1, 13, 15: company.
=train(e)=, II, 445, 62; 450, 67: training.
=traitorye=, III, 411, 2: treachery.
=tralled=, V, 274, 10: trailed (had rather have married A. and have
trailed).
=trance=, II, 468 f., 18, 22; V, 268, 7: passage in a house.
=tranckled=, I, 284, 10: travelled. (Dutch trantelen, tranten, tarde
progredi; morari. Hexham, to go lazily, at a soft pace.)
=trap=, a doublet of trip. trip for trap, II, 328, 17: tripping.
=trapand=, _p. p._, (of horse) IV, 44, 4: treacherously dealt with.
=trappin=, IV, 342, 12: tape.
=trattles=, II, 152, 5: tattles.
=travisse=, II, 92, 20: (a frame for confining cavalry horses) horse’s
stall.
=trawale=, III, 41 a: travail, operations.
=tray=, =tree= (A. S. trega), injury, suffering, grief, vexation. tene
and traye, I, 328, 40; tray and tene, III, 66, 218: grief and vexation,
tree and teene, III, 412, 22: grief and injury. (tregan and téonan,
Genesis, 2274.)
=tray=, try.
=tread=, =tred=, _pret._ of tread, II, 160, 5, 6; 165, 9; 171, 10, 12;
IV, 468, 3, 4. _p. p._, IV, 128, 19.
=treasonie=, II, 344, 14: treason.
=tree=, =tre=, I, 343, 42; 345, 40; II, 218, 19; III, 23, 26; 309, 44:
wood. I, 465, 2; 473, 4: pole, shaft of a cart. I, 341, 21; 344, 20;
III, 25, 59; 29, 154; 63, 147; 97, 4: the cross. III, 160, 22, 25; 161,
42; 162, 55, 62; 163, 78; 267, 9; 268, 8; 270, =D= 8; 271, =F= 10:
staff, straight piece of rough wood. crooked tree, III, 160, 18: bow.
trenchen tree, III, 164, 91: truncheon, cudgel, staff. of (a) myghttë
tre, III, 308 f., 27, 42: of strong wood. a trusti tree, III, 309, 40:
perhaps shaft; but the _a_ is likely to be _of_, as Professor Skeat
suggests, and the meaning, of trusty wood (cf. 44, bowe made off trusti
tree). horse of tree, III, 478, 13: bridge, or, at least, tree-trunk.
=tree=, III, 412, 22. See =tray=.
=trenchen tree=, III, 164, 91: truncheon, cudgel, staff.
=trew=, =true=, II, 384, 20, 21; III, 474, 45: trow, believe.
=trews=, =trues=, IV, 157, 18, 19; 267, 7; 272, 3; V, 165, 1; 267 a, 6;
306, 1: trousers.
=treyffe=, III, 113, 81: thrive.
=triest=, =trist=. See =tryst=.
=trinkle=, I, 497, 15; II, 197, 17; 209, =D= 7; 290, 25; 326, 11; 411,
=B= 17; IV, 236, 5; 409, 6; 487, 27: trickle.
=trip for trap=, came down the stair, in, 328, 17: tripping, trip-trap
(trap, a doublet of trip).
=tristil-tre=, III, 98, 37. See =trystell-tre=.
=troule=, V, 84, 13: go round (of a bowl of ale).
=trow=, =trew=, =true=, believe, suppose. I trow, I, 104, =c= 13:
assuredly.
=trowt=, =trowet=, III, 110, 23, 26: troth.
=truce=, my petticoat, IV, 288, =E= 2: put in a trouss, tuck or fold,
to shorten.
=true=, days of, III, 352 a: (singular of truce, trews, pledges of good
faith) truce.
=true=, IV, 486 f., 5, 21; 491, 5: trow. See =trew=.
=true-love=, lover, betrothed lover (often not to be distinguished from
true love), _passim_.
=trues=, trousers. See =trews=.
=truff=, II, 144 f., 14, 24: turf.
=trust=, II, 307, 34; 379, 4; IV, 494, 37; V, 38, 5: trow, believe,
suppose (of the things one would rather not believe).
=truste=, III, 66, 207: trusty.
=trusty tree=, III, 92, 8; 116 f., 2, 21; 200, 37; V, 75, 4: an
obvious corruption of trystill-tree, a tree appointed for a meeting or
assemblage. (Trusty also in later copies of Adam Bell and the Gest for
trysty, trystell, which see.)
=trusyd=, III, 13, 9: trussed, bound up.
=tryst=, =tryste=, _n._, I, 394, =A= 1; 395, 1; IV, 2, 4, 6:
appointment to meet. IV, 413, 7; 414, 3, 4: appointment for wedding. I,
326, 18: market.
=tryst=, =tri(e)st=, _v._, I, 314, 1; II, 270, 3; 272, 4; IV, 201, 8;
V, 171, 4: engage, induce, entice, to come, go with. II, 294, 13; IV,
194, 6; 198, 8; 200, 19; 201, 11; 202, =K= 5: prepare a way for coming,
cause to come.
=tryst=, _n._ or _v._, IV, 154, 5: appoint a place, or, appointment of
a place.
=trystell-tree=, =trysty-tre=, =trystyll-tre=, =tristil-tre=, III,
69 f., 274, 286; 71, 298; 75, 387; 76, 412: a tree serving for a
meeting-place (of Robin Hood’s band). (In later texts, trusty.)
=trysty tre=, III, 26 f., 95, 98; 27, 102: tree fixed upon for
rendezvous (trusty, trustie in later copies).
=tu=, V, 303 a: to.
=tua=, the tua part, V, 254 =b=, 4: two thirds. But twa part, V, 276,
20, seems to mean second part, half, which we have at IV, 120 =F= 7;
381, 16; that is, it is more likely that an equal share should be
offered.
=tul=, III, 440, 25; til, to. tul a, III, 440, 13: to have.
=turn=, IV, 477, 14; turning o the tune, II, 249, 11; o the note, 250,
13; IV, 477, 13: refrain (owreturn, I, 332, =E=, =F= 7; owreword, II,
254, 8, 9). turnin o the bell, IV, 314, 19.
=turn the wind wi thee=, IV, 379, 6:==take the wine (i.e. wind) fra
thee, V, 275, 5. (The meaning is clear, but whether turn is in actual
use in the required sense I have not ascertained.)
=turning.= See =turn=.
=tust=, IV, 224, 20: tost.
=twa=, two. twa part, see =tua=.
=twafald(-fold)=, oer a tree, staff, II, 461, 19; III, 268, 8: bent
double over a stick. twafald ower his steed, III, 8, 18: doubled, head
hanging on one side, feet on the other. See =twofold=.
=twain=, _v._, part. See =twin=.
=twal=, twelve.
=twalmon=, =twalmont=, twelvemonth.
=twalt=, =twelt=, twelfth.
=twan=, _pret._ of twine, I, 256, 2.
=twatling=, dishes, V, 86, 36: unmeaning, nonsensical, of no account.
=twaw=, two.
=twig=, IV, 31, =B= 6: twitch, pull.
=twin=, =twine=, =twyne=, twin me o my make, twin babe of life, I, 129,
8; 174, 18; 175, =D= 6, 12; 177, 17; 220, =B= 3; 222, 7; II, 218, 16;
IV, 179, =A= 2: deprive. twine a mantle, I, 453, 3; twine me, IV, 154,
5: part with. twin(n) with, I, 175, 4, 5, 10, 11; II, 232, 7, 10, 12;
twin(e) me and my make, etc., I, 127, 14; 128, 11; 350, 15; II, 159,
12, 13 (twain); V, 178, 1: separate. gar twa loves twin (twain), etc.,
I, 56, =B= 9; II, 63, 23; 230, =B= 3, 6: part, _intrans_.
=twine=, coarse linen, duck, crash. for towel, IV, 460, No 47, 1, 2;
shift (contrasted with holland), II, 224, 17. II, 27, 19, 20: canvas.
I, 221, =C= 9; 504, 4: coarse stuff of some kind. Lincoln twine, III,
5, =D= 5; 8, 12; IV, 496, 10, is doubtless the Lincoln green of other
versions, and so simply texture. III, 192, 10: yarn, ropes o silken
twine, IV, 472, 10: twist, shoes of small corded twine, V, 301 b, 3.
=twinkle=, II, 409, 17; 425, =A= 7: trinkle, trickle.
=twinn=, _v._ See =twin=.
=twinn=, part in twinn, I, 432, 3: in twain, in two.
=twirld=, at the pin, IV, 390, =b= 4: tirled, rattled.
=twofold oer a staff=, =threefold oer a tree=, III, 267, 9; the body
being bent double over the staff, the whole presentation is, with the
staff (tree) threefold. Corruptly, III, 188, 6, two foote on a staffe,
the third vpon a tree. See also =twa-fald=.
=tydand=, II, 433, 9: tidings.
=tyde.= See =tide=.
=tyndes=, III, 65, 186: (A. S. tind) tynes, antlers.
=tyne=, I, 17, 11:==tynd, harrow-tooth (harrow-pin, I, 19, 10).
=tyne=, _v._, to lose, to perish. See =tine=.
=tyte=, his backe did from his belly tyte, III, 277, 17: quickly. A
verb of the sense _fall away_ may have dropped out after _did_, and is
at any rate to be understood, unless _tyte_ had that sense. A Scottish
_tyte_, to totter, fall (tyte oer, fall over), is noted by Jamieson.
=tythance=, =tythand(e)s=, =tythyng=, III, 361, =b=, =c= 1; =c= 14, 49;
362, 93; V, 78, 5: tidings.
U
=ugsome=, II, 47, 15: exciting disgust or abhorrence. (Icel. uggr,
fear.)
=ull=, I ull, V, 267, 5: will.
=umber=, I, 331, =C= 2: seems to be the same as thimber (I, 330, =A=
2): massive.
=unbeen=, my barn’s unbeen, IV, 143, =A= 4: not thoroughly closed in
or made tight? (been, well-provided, warm, dry and snug. A bein cask,
watertight, Jamieson.) a house is beind when thoroughly dried.
=vnbethought him=, I, 214, =A= 17 (printed um-); II, 240, 5; V, 15, 16:
bethought himself of.
=unbigged=, IV, 143, =A= 4: unbuilt.
=unco=, _adj._, A. S. uncúð (uncouth, III, 245, 11). unco man, IV, 235,
11: unknown, strange, unco land, ground, I, 182, 1, 3; 324, 4; IV, 410,
10, 11. unco squire, V, 26 f., 25, 36: stranger, unco woman, I, 78, 26:
unfriendly. unco lair (lear), II, 118, 1; 119, 1; 174, 1; 178, 2; III,
385, 1; IV, 411, 1; 467, 1: extraordinary.
=unco=, _adv._, I, 370, 5: unusually, very.
=uncouth=, =vnkowth=, =vnkuth=, =vnketh=, I, 344, 25; III, 245, 11: (A.
S. uncúð) unknown, strange. See =unco=.
=vnder=, Grenwich, III, 358, 78: perhaps, below, further down the
Thames.
=vnder hand=, shott it vnder hand, III, 199, 29; 202, 33; shot under
his hand, III, 204, 26: Dr Furnivall and Mr C. J. Longman suggest,
putting the bow horizontally, in which case you shoot with the arrow
under the left hand, instead of beside it, as in shooting with the bow
vertical. Ascham speaks of an underhand shaft, but without defining it:
“The underhande [shafte] must have a small breste, to go cleane awaye
oute of the bowe; the forehande muste have a bigge breste, to bere the
great myght of the bowe.” Toxophilus, 1545, ed. Arber, p. 126. And
again, as cited by Dr W. Hand Browne, of Johns Hopkins University: “Men
doubt yet, in looking at the mark, what way is best, above or beneth
hys hand”; “a byg brested shafte for hym that shoteth _under hande_,
bycause it will hobble.” Upon which Dr Browne remarks, “As he is here
speaking only of taking aim, under-hand shooting would seem to be done
when the archer raised his bow high, and looked at the mark under the
arrow-hand.”
=under night=, I, 100, 1: in the night.
=vndergoe=, II, 59, 33: undertake.
=undertaking=, be your, IV, 152, 6; 153, =D= 7: will undertake, manage
for you.
=vnfaine=, III, 355, 14: not glad.
=unfriends=, III, 470 b: enemies.
=vngoodly=, III, 322 a: unhandsome.
=vnhappie=, V, 82, 29: ill-conditioned, having bad tricks.
=unhappy=, IV, 64 a: mischievous.
=unhappy=, V, 86, 32: unlucky (as speaking inopportunely). (The _on_ of
_horson_ occasioned the omission of _un-_.)
=unkensome=, III, 495 =B= =b= 7: not to be known.
=unkent=, IV, 435, 12: unknown.
=vnketh=, =vnkouth=, =vnkuth=, III, 56, 6; 57, 18; 66, 209; 79, 6, 18;
82, 6, 18; 85, 6: uncouth, unknown, stranger.
=vnmackley=, II, 59, 30: misshapen. (Scott. makly, well proportioned,
mackerly, Northumberland, shapely. Halliwell.)
=vnneth=, =unneath=, III, 73, 358; 171, 17: with difficulty, scarcely.
=vnready=, V, 81, 10: indirect, or, attended with difficulties.
=unright(e)=, I, 294, 7; III, 339, 5; IV, 503, 5: wrong.
=unruly=, IV, 383, 1: should probably be unseally, as in IV, 378, 1.
=unseally=, IV, 378, 1: unlucky.
=vnsett=, III, 358, 71: surrounded, invested. (A. S. ymbsettan.)
=unshemly=, V, 215, 14: unseemly.
=unthought=, =unthocht=, =onthought lang=, haud, keep, I, 478, 13; 482,
=C b= 16, 20; II, 139, 3; III, 492, 5; IV, 260, 10: keep from thinking
long, wearying, from _ennui_. See =think lang=.
=vnthrift=, V, 81, 16: spendthrift.
=until=, =untill=, I, 221, =D= 3, 4; III, 488, 35, 36: unto, to.
=unto=, IV, 170, 11; 467, 11; V, 262, 19: into, in.
=vnto the same=, I, 284, 12: after the same fashion.
=vntyll=, gates shut them vntyll, III, 25, 52: to, against.
=vnwieldie=, V, 82, 29: unmanageable.
=vowsed=, =uowsed=, V, 79, 14: used, practised.
=vp chaunce=, III, 57, 18; 66, 209: on, for, the chance.
=up stark=, IV, 378, 5; 380, 11: (came, blew) up strong, as still
common, with the like ellipsis, V, 51, 68; 56, 45.
=upgive=, V, 193, 59: avow, acknowledge, own up.
=vpon=, =vppon=, I, 271, 2; 433, 15, 16: on. stay upon, wait upon, III,
450 b: for.
=upper hand=, II, 245, 29: upper tier, above.
=upricht=, I, 473, 3: right out.
=upstart=, II, 54, 56: sprang up.
=us=, I us gar, V, 267, 12: shall, will. See =s=, sign of future.
=used=, V, 85, 23: frequented. used him in her company, IV, 98, =F= 6:
accustomed him to.
=vtter=, III, 361, =b=, =c= 52: outer.
=utuer=, IV, 506, 59. See =beame=.
V
=vain=, streams proud and vain, IV, 204, 8: repetition of proud in the
sense of fierce, etc.
=valiant= (of ladies), V, 119, 1: of worth, estimation.
=value= (of an hour), IV, 514, 15, 16: amount.
=value=, =va(l)low=, _v._, II, 162, =E= 2: think important, make ado
about, stick. vallow not the feed, IV, 36, 3: value, care not for the
feud which will ensue; cf. =B= 3.
=vance=, spak wi a vance, IV, 465, 30: seems to be meant for vaunt.
It is hardly probable that the plural of the old Scottish and English
avant, vaunt (_with avants_) can be intended.
=vanitie=, IV, 300, 2, is nonsense.
=vawward=, III, 284, 14; vanward, III, 285, 21, 34; 333, 27: vanguard,
van.
=veiwe=, =vew=, =vewe=, III, 92, 15: yew.
=velvaret=, IV, 369, 1: meant for velvet; not velveret.
=venie= (?), III, 219 b, note: vein.
=venison=, II, 59, 38: hunting (prerogative of).
=vension=, III, 196, =d= 4: venison.
=vepan=, weapon.
=verament=, III, 308, 26; 333, 26: truly.
=vessell=, _pl._, III, 65, 175, 179, 191: vessels.
=vew=, your vew, V, 86, 40: sight of you.
=vew=, =vewe=, =veiwe=, III, 92, 15; 105, 27; 362, 78: yew. (The v is
not for u. The word is pronounced vewe in Cheshire.)
=vild=, V, 53, 102: vile.
=virgus=, I, 420, 13: verjuice, a kind of vinegar (green juice).
=virr=, I, 183, 16: vigor.
=virtue=, in virtue leave your lammas beds, II, 96, =J= 4: corrupt. Cf.
=B= 1. Dr Davidson suggests, never tae leave your lammie’s, lambkin’s
beds (lammie’s, innocent).
=vo=, =vou=, woe.
=vogie=, IV, 176, 11: vain, merry; no longer have you cause for
self-gratulation, to be demonstratively joyful.
=vones=, I, 334, 6: dwellest.
=voss.= a voss o, IV, 224, 8, 12: comparing =G= 8, 10, 21, =K= 22, the
voice of, this last seems to be meant. Otherwise, a corruption of, it
was a (cf. =A= 11; =C= 15; =D= 17; =E= 19; =H= 11).
=votes=, IV, 114, =C= 2: for voters? probably a corruption.
=vou’s me=, V, 271, 16, 17, wo is me!
=vouch it safe=, III, 75, 381: grant, bestow (safe corrected from
halfe).
=voued=, _pret._, V, 268, 17: viewed.
=vour.= o vour, II, 25, =F= 13: half owre, as in =C= 18.
=vow=, =wow=, IV, 133 f., 12, 15; 136, 21; V, 118, =C= 11: exclamation
of surprise, emphasis, or admiration.
=voyded=, III, 26, 79: made off.
=vue=, _v._, V, 265, 17: view.
=vyld=, wild.
=vytouten nay=, I, 334, 4: without, beyond, denial.
W
=wa=, =wae=, IV, 448 a, 3^d st.: wo.
=waaf=, II, 72, 2: waif.
=wad=, _n._, II, 63, 23; 172, 31, 32: pledge, in security. I, 340, 2;
343, 2; II, 376, 39; III, 455, 10: forfeit.
=wad.= I wad, I, 130, =F= 14, 15, 20: I wot, in a weak sense,
assuredly, truly. See =a=I=, and =wat=.
=wad=, =wade=, I, 71, 55, 56; 74, 76, 77; III, 465, 30; V, 299, 2:
would. See =wads=.
=wad=, =wade=, _v._, IV, 18, 17; 185, 7; 384, 5; 385, 2, 7; 386, 2; V,
219, 23; 275 b, 6; 300, 14: wager. IV, 432, 4, 5: engage (to fight).
=wadded=, I, 272, 11: of woad color, blue.
=wadded=, V, 261, 6: wedded.
=wadding=, =wadin=, II, 131 f., 11, 16, 19, 20; IV, 470, 15-17: wedding.
=wade=, =wad=, _pret._ of wide, wade, II, 97, 12, 13; 283, 4; 461, 10;
IV, 68, 6; 190, 27, 28; 438, 13; 455, 9.
=waders=, IV, 188, 20: miscopied by Skene for mideers, mothers.
=wadin.= See =wadding=.
=wads=, II, 133, =D= 4, 5, 6: wishes (wad, would, treated as a present
tense).
=wae=, =wa=, I, 69, 48; 127, 28; 169, 3; 217, 3, 6; V, 306, 10: wo.
=wae=, _adj._, I, 367, 11; II, 70, 25; 89, 36; 129, 17: unhappy.
=wael=, IV, 443, 5: choice. See =wale=.
=waely=, IV, 59, =d= 3: a rhyme-word for wae, sad.
=waesome=, IV, 369 b: woful.
=waft=, I, 420, 15, 16; 422, 12, 13: weft, woof.
=wafu=, woful.
=wainless=, II, 72, 8: homeless (without a wane, habitation).
=wair=, II, 472, 24: bestow. See =war=.
=wait=, I wait, a wait, wate, IV, 128, 16, 17; 169, 3; 371, 2, 3, 5;
447, 6, 17; 470, 17; 510, =W= 2; 515, 12, 15; 517, 20: I wot, know,
indeed. See =wat=, and =a=I=.
=wait=, IV, 456, 7:=wite, blame.
=wait=, =wayte=, III, 57, 18; 66, 209; 83, 202; 86, 202; 412, 21:
watch, lie in wait, seek an opportunity, to do.
=waith=, steed, V, 176, 18: waif, stray, wandering.
=waitmen=, II, 424, 3: waiting-men (or possibly, wight men, strong men).
=wake=, II, 327, 2, 4, 5: aperture, way. (Icel. vök, aperture,
especially one cut in ice, or remaining in water not completely frozen
over; passage cut for ships in ice; Swed. vak, hole in ice; Dutch vak,
empty space. “In Norfolk, when the ‘broads’ are mostly frozen over, the
spaces of open water are called wakes.” Wedgwood.)
=wake=, I, 107, 5; IV, 446, 5; 447, 5: watch (people set to watch me),
but the reading at I, 107; IV, 447, is probably wrong; cf. I, 108, =B=
4. See =wane=.
=wake=, IV, 141, 12: merry-making, sport.
=wake=, _v._, V, 277, 2: walk.
=wake=, III, 88, 340, is an original misprint.
=waken=, I, 433, 24: waking.
=wakerife.= See =waukrife=.
=wald=, =walde=, I, 334, 6: would.
=wale=, =wael=, =walle=, IV, 265, =A b= 10; 477, 19; V, 256 a, 2:
choice.
=wale=, =weil=, =wile=, =wyle=, I, 428, 14; IV, 169, 5; 300, 12; 461,
19; V, 105, =B= 1: choose.
=wale wight=, I, 490, 13. See =wall wight=.
=walker=, I, 272, 14: fuller.
=wall=, I, 387, 2, 4; 440, 4, 6; V, 206 a, 3: well, spring. The water
at St Johnston’s wall was fifty fathom deep, II, 21, 14: an alleged
deep place in the Tay; cf. 24, 14, there’s a brig at the back o Sanct
John’s toun, it’s fifty fadom deep.
=wall=, green wall sea, green wall wave, V, 275 b, 7, 8: apparently
wave, despite tautology; cf. II, 22, 15, green-waved sea. (haw sea, IV,
379, 10; 380, 19. Prof. Murison informs me that when Mrs Murison sings
the ballad mechanically, or without attention, she invariably sings
haw.)
=walle=, V, 256 a, 2: wale, choice. See =wale=.
=wallourt.= See =wallowt=.
=wallowd=, II, 392, 10: rolled over (?).
=wallowit=, II, 361, 32: withered.
=wallowt=, IV, 127, 3: drooped, grew pallid. was wallourt, IV, 138,
=M=: (misspelt) was pallid.
=wall-wight=, II, 123, 15; 403, 9; III, 10, 23; IV, 392, 11, 12; V, 37,
6; 41, 29, 32 (all from Buchan’s ballads): explained by Donaldson as
waled wight, picked strong men. Donaldson cites _weild wightman_ from
Semple of Beltrees. See =well wight=, =wale wight men=, I, 490, 13.
=wallwood=, swine, II, 299, 16: wild-wood, compare II, 144, 3,
wild-wood steer (unhallowed swine, II, 154, 10).
=walting=, IV, 312, 8: welting, edging.
=waly=, IV, 21, 13: fine large.
=waly=, =wallie=, =wally=, II, 363, 1, line 1; IV, 109 f., 5, 8; 293,
=A= 1, 2, 7, 9 (oh and a waly); V, 195, 8; 197, 9, 10, 11: exclamation
of admiration. O braw wallie, IV, 296, =F= 1: literally, O good, lucky!
or, O good luck! but, as before, an exclamation of admiration.
=waly=, =wally=, II, 363, 1, line 3; IV, 92, 1, 3; 94, 1; 95, 1, etc.:
interjection of lamentation (probably A. S. wá lá!). the wally o’t, IV,
290, =D b= 1: sorrow, pity of it! waly’s my love! V, 208, 1, 2, etc.
=wamb=(=e=), =wame=, II, 130, 2; 183, 24; 189, 27; 195, 33; III, 437,
23: womb. See =weam=.
=wan=, one.
=wan=, dark-colored, pallid, colorless, white. II, 92, 3, 4, 9; 97, 11;
144, 13; 147, 10; 150, 14: dark-colored. II, 74, =E= 6; 79, 28; 185,
33; 187, 16; 399, 2: pallid. wan water (as contrasted with wine), II,
70, 17; 74, =D= 7; 75, 10; 92, 4; 96, =J= 7, 8: colorless. far got ye
that water that washes ye so wan, II, 191, 23: white (ye wad never be
so white, 24).
=wan=, =wane=, _pret._ of win, I, 73, 53; II, 21, 4; 123, 22; III, 474,
32; IV, 180, 7. he wan free, V, 300, 11: got free.
=wan=, _p. p._ of win, IV, 385, 26.
=wand=, II, 146, 13; 147, 14; 150, =E= 9; 151, =G= 4: of (willow)
twigs, staff made of the wand, II, 118, 22 (very nearly verbiage): made
of a rod.
=wane=, I, 334, 7; III, 63, 148: habitation. in my bower there is a
wane, IV, 446, 5: wane, says Jamieson, denotes not only a dwelling (Old
Eng. wone), but “different apartments in the same habitation;” if so,
in my house there is a room, is the sense here. wan, in the wake there
is a wan, IV, 447, 5: should at least be, in the wane there is a wake,
as the rhyme shows, and as we have at 446, 5. In, at the wake there
is a wane, I, 107, 5, wane was meant by Scott to be understood as a
collection of people (wheen). See =wake=.
=wane=, III, 309, 36: “quantity, multitude; a single arrow out of a
vast quantity.” Skeat (quantity as in Chaucer’s wone, see =wheen=).
This is to me quite unsatisfactory, but I have no better interpretation
to offer. Wain, in the sense of a vehicle for a missile, ballista,
catapult, would be what is wanted, but I have not succeeded in finding
a case.
=wanhappy=, IV, 386, 1: unlucky.
=wanna=, did not win, go.
=wannelld=, III, 488, 38: was unsteady, staggered. (A. S. wancol, North
Eng. wankle, unstable, Germ. wankeln.)
=wannle=, IV, 491, 32: agile, vigorous, strong.
=wanny=, II, 261, 8, 9: small wand, rod.
=want=, IV, 196, 3; 268, 17, 22; 357, =B= 7; 358, 17: do without,
dispense with. sae soon as we’ve wanted him, IV, 359, 12: had to do
without. III, 513 b, 2, _pret._: wanted.
=wanton=, III, 452, 1; 453, 1: free and easy, frolicsome. (rantin, 455,
1.) Cf. Wanton Brown (a horse), IV, 17, 1, etc.
=wantonlie=, =-ly=, III, 488, 27; 490, 14: gaily, merrily. rode, lap,
wantonly, IV, 146 f., 8, 38: in easy, spirited style.
=wap=, horse will gie his head a wap, I, 182 f., 8, 14: throw, toss.
=wap=, _n._, coost a wap on horse’s nose, IV, 21, 9: noose.
=wap=, _v._, wrap, lap. wap cloth into ship’s side, II, 27, 19: stuff.
roun ship’s side, 20: wrap. wap halter oer horse’s nose, IV, 17, 4:
lap, twine, perhaps throw.
=wap=, _v._, throw. wappin corn and hay oer to horse, IV, 21, 18:
throwing. wappit wings, II, 139 f., 7, 12, 22: beat, flapped.
=war=, =ware=. be war, ware, a, of, on, I, 273, 37; II, 46, 37; III,
66, 213; 109, 4; 296, 20; 307, 10: be aware, have a sight of. was war
wher, III, 98, 39.
=war=, =waur=, I, 388, =A= 10; 420, 12, 13; 466, 22; II, 417, 6, 9; V,
193, 48: worse.
=war=, =waur=, I, 132, =I= 1; 149, =I= 1; 331, =B= 8: were.
=war=, =ware=, =wair=, I, 431, 3; 478, 7; II, 418, 22; 472, 24; V, 142,
11: expend, bestow. ware my dame’s cauf’s skin on thee, IV, 7, 31; V,
250, 29: apply, use, my wife’s (mother’s) whip.
=waran=, =warran=, =warrand=, =warraner=, =warrant=, III, 430, 15; 435,
=F= 7; 436, 5, 7: sponsor for, security. III, 405, 7; IV, 310, 4 (cf.
=warn=): safeguard.
=ward=, =warde=, III, 404 b; 470 b: defence. III, 72, 332, 337; 449 a;
IV, 11, 18: prison, confinement. enter himself in ward, III, 447 b:
voluntarily go into confinement.
=ward=, IV, 446, 1: _corrupt_. See =weird=.
=warde=, II, 273, 25; 340 b, line 8: forewarn, advise.
=warden=, I, 161, 4; V, 209 a, 4: guardian, tutor.
=warden=, IV, 317, =F= 3, 4: facing, edging (cf. the walting, welting,
of 312, =A= 8).
=warden pies=, III, 216, 35: made of large pears called wardens.
=wardle=, I, 127, 14; V, 214 f., 1, 6: world. wardle’s make, see
=warld=.
=ware=, V, 169, 11: sea-weed, alga marina (used for manure).
=ware=, V, 306, 2, 3: were.
=ware=, _pret._, V, 221, 20: wore.
=ware.= See =war=.
=warison=, =waryson=, III, 100, 74; 297, 43: reward.
=warld=, world. warld’s make, I, 129, 8; 348, 17; 351 f., 40, 54; 353,
=H= 12; wardle’s make, I, 127, 14; warldly, worldly, make, mate, I,
344, 30; II, 118, 6, 7; world’s make, I, 128, 11; 348, 11; wordlye
make, II, 86, 18, 20: world’s, earthly, mate, consort. world’s mait, I,
508, 9.
=warldly.= See =warld=.
=warlock=, II, 220, 11, 12; 223 f., 8, 14; IV, 472 f., 24, 25: wizard.
=warn=, IV, 309, 2, 6: surety, safeguard. Cf. warran, IV, 310, 4, and
see =waran=.
=warn=, _p. p._, IV, 445 b, 2, No 8: warnd (as 446, =b= 2).
=warp=, _v._, I, 312, 8; II, 503, 7: curl, twist.
=warran=, =warrand=. See =waran=.
=warraner.= See =waran=.
=warsle=, _n._, I, 438, =A= 1: wrestle.
=warsle=, =warsel=, _v._, I, 438, =A= 2; 439, 2; 440, 3; 441, 1-3:
wrestle. warsled, I, 56, 14: wrestled, struggled, bestirred herself.
=warslin=, a-warslin, I, 440, 1, 2: a-wrestling.
=warwolf=, I, 311, 15, 16: werewolf, man-wolf, man transformed into a
wolf.
=waryson.= See =warison=.
=wa’s=, ways.
=was.= See =wash=.
=wash.= _pres._ was, I, 494, 7; III, 111, 41. _pret._ weesh, wish,
wush. _p. p._ washen (I, 304, =E= 5; II, 111, 10; V, 102, =B= 15),
wushen, which see.
=wast=, west.
=waste=, I, 349, =F= 9: seems to be nonsense (_ride_ expected).
=wat=, =wate=, =wait=, =watt=, =weet=, =wet=, =wit=, =wite=, =wyte=,
=wis=, =wot=, know. I wat, wate, a wat, a wite, etc., frequently
nothing more than assuredly, indeed: II, 159, 11, 13, 15, 16, 19, 23;
160, 10-16, 18, 19; 161, 12, 13, 17; III, 199, 23; 464 f., 10, 15,
34; 466, 43; IV, 175, =M= 7; 359, 4, 5, 7, etc.; 470, 17; V, 300, 2.
_pret._ wist. _p. p._ wist, west.
=wat=, _pret._ of weet, weit, to wet, I, 17, =D= 6; II, 21, 12, 13; 23
f., =D= 7, =F= 10, etc.; IV, 424, 5. _p. p._, I, 55, =B= 7; II, 23, =E=
8.
=wate=, knew. See =wat=, =wait=.
=wate=, _pret._ of wite, blame, II, 273, 25.
=water=, =water-side=, IV, 7, 25; V, 250, 24, 25: “the banks of a
river, in the mountainous districts of Scotland the only inhabitable
parts.” Scott.
=water-cherry=, II, 186, 18: perhaps a species of cherry used as a
cosmetic.
=water-gate=, IV, 510, 6; V, 250, 12: street leading to the water, way
along the water.
=water-kelpy=, IV, 185, 10: water-sprite.
=water-side.= See =water=.
=water-sluice.= bored nine holes in her water-sluice, V, 142, =f= 5,
should mean in the gate or valve of some vent for water; bored a watery
sluice, or aperture for water, =g= 6, is a more rational reading.
=water-stoups=, V, 91, 7, 8: water-buckets or pitchers.
=wather=, =wither=, =wuther=, V, 107, 3, 5: wether.
=watt=, III, 199, 23: know. See =wat=.
=waught=, I, 299, 14: draught.
=wauk=, walk.
=wauk=, II, 139, 5, 13: watch, be awake.
=wauken=, II, 139, 11, 13: waken. _pret._ waukenit, II, 79, 38: awoke.
=wauken(e)d= =at=, II, 162, 12: tried to waken; perhaps, chid,
expostulated with.
=waukrife=, =wakerife=, IV, 389 b: watchful, wakeful.
=waur=, =war=, I, 5, 13, 18; 422, 17; 475, 44; 476, =J= 6; II, 421, 26;
IV, 26, 4, 5: worse.
=waur=, I, 147, =C= 1; II, 61, 9; IV, 417, 5, 10: were.
=wavers wi the wind=, II, 266, =B= 1: is as restless, changeable (?).
=wawis=, IV, 196, 19: walls.
=way=, I, 4, =A= 13, 16; =B= 8, 9; 5, =D= 4, 9; V, 283, 7, 17: the
Milky Way.
=way.= would I way or would I wight, I, 77, 13; 78, 42: nonsense. See
=weight=. Motherwell conjectures, would I away, or would I wait. See
=wee=.
=waylawaye=, alas.
=ways=, IV, 196, 15: in a direction.
=wayte=, =wait=, III, 57, 18; 66, 209; 83, 202; 86, 202; 412, 21:
look out for; watch, lie in wait, seek an opportunity, to do. _pret._
wayted, III, 72, 331: lay in wait for.
=waythmen=, III, 41 a: hunters. See =wight-men=.
=we=, V, 302 a, 13: with.
=we an E an O me=, =we an E an O an O me=, V, 275 a, 9, 10: these
words have been treated as interjections. It is possible that they are
corrupted from something like, were a’ foald in a yeir to me, III, 370,
9; cf. II, 465, 9.
=wea=, see your body wea, V, 226 b, 7:=wae, suffering? (strange
expression, see II, 305, 7, you red and blue.)
=wead=, would.
=weal=, III, 310, 60: “clench so as to leave marks, mark with
wales”(?). “Perhaps read wringe and wayle.” Skeat.
=weame=, IV, 505, 56: belly. See =wamb=(=e=), =weme=.
=wean=, II, 136 a, 16; III, 253, =R=; 397, =A b= 2: wee an, little one,
child.
=wear.= sare a man a wear, I, 301, 2: sair, supply, a man, of, with,
his wear, clothing.
=wear=, _pret._, V, 221, 21: wore.
=Wearie=, I, 55 f., 3, 4, 6, etc.: the Devil.
=wearied=, =wearit=. See =wearyd=.
=wearifu=, V, 115, 7: tiresome, vexatious, cursed.
=wearin’s wa=, I, 333, 6: wearing his way, growing less and less,
slowly vanishing.
=weary fa=, IV, 389 b: a curse befall.
=weary=, =wearie=, I, 310, 16; II, 131 f., 11, 16; 231, 1; III, 319,
24; IV, 56, =A= 3, =B= 3; 57, =C= 3, 6; 133, =G= 6; V, 16, 1, 2, 5, 8;
192, 25: sad, unhappy, distressed. IV, 44, 6; 290, =B c= 5; 359, 6;
480, 3: vexatious, hateful, horrid, cursed.
=weary=, weary high hat, III, 184, 13: monstrously, deucedly.
=wearyd=, =wearied=, =wearit=, III, 261 f., 8, 10; IV, 128, 5; 132, 8:
troubled, afflicted.
=wearyin for me in=, V, 155, 6: longing to have me indoors.
=weate=, III, 341, 47: corrupt. Possibly, I weate, wit, know.
=weather=, IV, 213, 17, 18: storm of rain or snow.
=wed=, =wedd=(=e=), =wad=, III, 66, 214; 71, 298; 110, 7, 8, 12, 13;
356, 34: pledge, fine, forfeit (ley a wed, 110, 7, 8,=leffe, leave a
wed, 12, 13). sette to wedde, III, 59, 54: put in pledge.
=wed=, _v._, I, 481, 42: wager. See =wad=.
=wed=, proudest wed, III, 4, 5: proudest dressed (from wede)
=wede=, =weed=, II, 28, 28; III, 61, 97; 74, 368, 371; IV, 212, 2, 7;
213, 10, 15; V, 306, 13: clothing, garment.
=wee=, I, 163, =J= 1, 2, etc.; 164, =K= 1, 2, etc.: little. I, 203, 5;
IV, 412, 15; 413, 18; 421, 25: short time.
=wee.= would I wee or would I way, I, 77, 12; 78, 41: would I (stay)
wi (him) or (go) away, is all the meaning this can have. Motherwell
conjectures, would I wait or would I away. See =way=.
=weed.= See =wede=.
=weel=, well. See =well=.
=weel.= the weel gae wi his body, IV, 129, 21, 23-25: prosperity.
=weel=, =well=. weel fa! good luck befall, I, 388, =B= 5. for my weel,
II, 461, 8; 466, 24: well, advantage (461, 9, for my better). Euphemism
for God: weel met thee save! I, 324, 3 (MS. thou); well met ye (you)
save! IV, 455, 4; V, 195, 9; well (weel, weill) may ye (you) save! IV,
195, 13; 198 f., =G= 4, 21. So III, 268, 3^1, originally; the _far
better_ in the line following, is nonsense.
=weel=, =weil=, IV, 517, 19: a pot, deep place, or whirlpool in a river.
=weel that was her own=, II, 73, 20: seems to mean that the roses and
ribbons were indeed hers by right.
=weel-busked=, hat, IV, 199, 9: handsomely adorned.
=weel-fared=, =weel-fart=, =weil-faurit=, etc.: well-favored. See
=fared=.
=weel-worst=, V, 214 a, 1: very worst.
=ween=, II, 132, 21: whimper, whine, lament.
=ween=, heigh a ween and oh a ween (where _a_ may be _I_), II, 504, 27:
exclamation of distress.
=weep=, _n._, V, 241 a, 4, 5: weeping, tears.
=weer=, I, 72 f., 6, 61: weird, fortune.
=weer=, war. See =weir=.
=weesh=, _pret._ of wash, V, 213, 6.
=weet=, II, 293, 13: know.
=weet=, _n._, III, 160, 6; IV, 379, 15: rain, shower of rain.
=weet=, =weit=, _v._, III, 401, 7: wet.
=weetie=, =weety=, IV, 197, 9, 17; 258, 25: rainy.
=weighed more=, II, 455, 57: made more account.
=weight=, IV, 224, 23: wight, strong.
=weight=, was he weel or was he weight, I, 80, 9: nonsense; _weight_
would be wight, strong, etc., which has no pertinency. The same of,
would I way or would I wight, 77, 13. See =way=.
=weil=, =weel=, IV, 182, =G= 8: a pot, deep place, or whirlpool in a
river. weil-head, II, 153, 17: vortex of a whirlpool.
=weil=, =wile=, V, 10, 2: wale, choose. See =wale=.
=weil==well, very. See =well=.
=weir=, =weer=, =were=, III, 480, 9; 491, 6; IV, 432, 14; V, 183, 21:
war.
=weir=, bot weir, I, 140 =N=: without doubt. (Pinkerton.)
=weir-window=, =wire-window=, IV, 44, 10; 46, 11, 7: seems to be a
window grated with iron bars.
=weird=, =wierd=, =weer=, _n._, I, 69, 42, 47; 71, 37; 72 f., 6, 61;
77, 6; 309, =B= 1; 482, =E=: fate, fortune, destiny.
=weird=, _v._, I, 311, 3: destine.
=weird=, I, 107, 1: the reading at this place is compounded from, weird
her a grit sin, IV, 445, 1, and ward her in a great sin, IV, 446, 1;
the reading of IV, 445, would mean, destined, put her in the way of, a
great sin; _ward in_ of the other text does not give an easy sense, and
_ward_ is perhaps a corruption of _weird_.
=weirdless=, III, 391, =H= 3: unlucky.
=weit=, I, 140, =N= (Pinkerton): know.
=welde=, III, 112, 52: would.
=well=, euphemism for God. See =weel=.
=well=, III, 112, 48: will.
=well=, the well o wine gaed in, IV, 428, 16: perhaps wale, choice, the
best; but since the wine was poisoned, this must be meant ironically.
=well=, =weel=, =weil=, very, right. well good, II, 46, 43; III, 132,
5; 478 f., 15, 34; V, 49, 11: very good. weil gaucy, V, 152, 3. well
warst, V, 180, 14, 16; 214 a, 1: very worst. well faire mayde, II, 439,
3, 8, should perhaps be well-fared.
=well and wellsome=, II, 159, 16: should probably be wae and waesome
(sad and woful).
=well o Spa=, IV, 286, 6: a spring to the west of Aberdeen.
=well or wae=, was he well or was he wae, I, 80, 8: whether he liked or
disliked. (The passage is variously corrupted, and the original reading
probably nowhere preserved.)
=well-a-woo=, III, 77, 438: a variety of well-a-way. (A. S. wá-lá-wá.)
=well-bespoke=, V, 149, 9-11: well spoken.
=well-strand=, I, 165, =M= 4; IV, 172, 15; 174, 16: stream from a
spring.
=well-wight=, III, 3 f., 12, 16, 21; 487, 5, 7; IV, 165, 7; 222, 9
(wiel-wight); 428, 4: very strong, sturdy, stalwart; but, sometimes,
brave, see III, 4, 16. See =wall-wight=.
=welt=, _pret._ of wield, III, 74, 366: disposed of.
=welth=(=e=), III, 77, 436: either, simply, his money, or, more
probably, his well-being, his palmy days; so III, 287, 65. III, 295, 5,
6; 296, 15, (rich) booty.
=weme (of ring)=, III, 412, 21: belly, hollow. See =weame=.
=wen=, III, 200, 3: win, get, go. V, 256, 7: _pret._ of win.
=wend=, III, 38, 104: gone (gone, =b=).
=wend=, =went=, V, 80, 42; 81, 14: weened.
=wenion=, with a, III, 138, 11: wanion, a curse, bad luck (waniand,
waning (of the moon). Skeat).
=wenking=, winking.
=went.= See =wend=.
=were=, I, 334, 11: war. See =weir=.
=were=, vulgar English, he were, II, 4, 2; 8, 8.
=werne=, II, 139, 23: were.
=werre=, I, 327, 20: worse.
=werryed=, I, 273, 37: worried.
=werschepyd=, III, 109, 3: showed respect to.
=west=, _p. p._, III, 113, 70: wist.
=west-airt lands=, II, 73, 30: western. See =airt=.
=westlan=, =westlin=, =westryn=, II, 258, 34; III, 431, 20; 435, =E= 7;
IV, 240, 18: western.
=wet=, =wete=, III, 63, 141; 70, 287; 112, 50: know.
=wether=, I, 210, 14; III, 430, 2; 432, 19 (perhaps=whether): whither.
=wex=, =weks=, _n._, V, 283, 11, 21: wax.
=weynde=, III, 297, 41: wend, go.
=wha=, who.
=wha’s= (=whae’s=) =aught=. See =aucht=.
=whall=, white as whall, II, 478, 7: that is, whale’s bone.
=whang=, I, 19, 11; II, 168, =A= 5: thong. In II, 217, 1, 3, lace his
middle with a whang, the reading should no doubt be _band_ as in other
versions.
=whang= (of cheese), V, 115, 8: slice.
=whar=, =whaur=, I, 164, =K= 1, 3, =L= 1, 5: where.
=whas=, whose.
=what an a=, =whaten a=, =whatna=, =whattna=, =whatten=, I, 169, =B= 4;
203, =C= 18; 441, 19; II, 195, 34; III, 433, 2; 434, 2; 453, 12, 13; V,
162, =C= 2: what sort? what (in particular)? what a! So, what for a? V,
160, 3; what like a ? V, 163, 5; 164, =E b= 2.
=wheder=, III, 57, 11: whither.
=wheen=, a wheen blackguards, IV, 67, 5, 6: number, pack, etc.
=whether=, II, 455, 62; III, 92, 26: which of the two.
=whether=, whither.
=whew=, =whue=, =whute=, III, 440, 10: whistle.
=whidderand=, =whithering=, V, 191, 16: (of arrows) whizzing, moving
with a whiz.
=whight.= See =wight=.
=whikety whack=, V, 304, 9: whick-whack (whick, doublet of whack).
=while=, the other, I, 414, 18: the remaining time, henceforth (?).
=while=, I, 232, =A= 2: for a while.
=while=, =whyll=(_e_), II, 223, =F= 1, 2; III, 201, 23, 31; 298, 50,
54; 309, 47: till.
=whiles=, I, 115, =B= 1; =C= 1; 131, =G= 9; 256, 2; II, 470, 59: at
times.
=whiles=, =whilest=, =whileste=, =whilste=, =whyllys=, =the whyles=,
III, 87, 278; 107 b, 7; 357, 38, 45; 358, 83; 361, =b=, =c= 38, 43, =c=
41: while.
=whilk=, IV, 373, 10; 476, 1: which.
=whin=, =whun=, win, fun, II, 116, 10, 18; 117, 4, 12; 360, 5, 7: furze.
=whirpled=, V, 106, =E= 5: evidently whipped, stripped (but I have not
found the word elsewhere).
=whistling= (of ladies moving), II, 386, 19: whisking.
=white bookes=, III, 357, 58: clear of oppressive charges.
=white bread=, II, 88, 15, 16, 22, 23; wheat bread, as in 89, 4; 92, 5,
6 (white meal is contrasted with corn and oats, II, 88, 17, 18). So 96,
=J= 5, 6; fite bread, whit bread, V, 220 f., 6, 7, 9.
=white-fish=, II, 129, 8; IV, 436, 10, 18, 19; V, 122, 1; 124, 1;
274, 10 (fait fish): haddock, cod, ling, etc., as distinguished from
gray-fish, coal-fish; in Banff, as opposed to salmon, trout, herring.
=white-fisher=, IV, 436, 18, 19: one who fishes for haddock, cod, etc.
(as distinguished from salmon).
=white-land=, IV, 213, 14: wheat-land.
=white meal and gray=, II, 261, 12; IV, 494, 29; V, 238, 29: oat-meal
as distinguished from barley-meal (oat-meal and grey, II, 462, 30). But
white meal, II, 88, 17, 18, being contrasted with corn (oats), must
there be wheat.
=white money=, =monie=, I, 464, 7; 471, 11, 12; 473, 12; II, 352 f.,
=E= 5, 7; 473, 7, 8, 14; 475, 13, 14; 476, 10, 13; III, 389, 17, 18,
20, 22: silver.
=white rigs=, IV, 131, 14: of grain (to distinguish from crops which
remain green).
=whithering=, =whidderand=, V, 191, 16; 199 b, 16: whizzing.
=who would=, III, 163, 87: if one would.
=whorle=, V, 116, 10; 118, 4; 119, 7; 120, 5: the fly of a
spinning-rock.
=whue.= See =whute=.
=whummil=, I, 255, 2: wimble, gimlet.
=whun=, =fun=, III, 5, =D= 7; 6, 12: whin, furze. See =whin=.
=whunnie=, IV, 69, 22: covered with whins, furze.
=whute=, =fute=, =whue=, =whew=, _n._ and _v._, III, 125, 29-31:
whistle. 126 =B=, =b= 29-31, whues.
=why=, V, 264, 5: whey.
=whyles=, the whyles, III, 70, 278: while. See =whiles=.
=whyll=(_e_), till. See =while=.
=whyllys=, III, 309, 37: while. See =whiles=.
=wiald=, wield.
=wicht.= See =wight=.
=wicker=, =wigger=, III, 125, 20; 126 f., =b=, =d-f=: willow. (Wycker,
osier. Palsgrave. Swed. and Dan. dialects, vikker, vægger, willow.
Skeat.)
=wicker=, IV, 31, 6: twist.
=wid=, IV, 456, 15: would.
=wide=, I, 55 f., =B= 4, 6, 8; II, 88, 5; 94, 3; 96, =I= 5; IV, 424,
11: wade. (Spelt _wade_, but rhymed with -ide, II, 462, 7; 465, 19;
III, 493, 14.) _pres. p._ widen, IV, 68, 6. _pret._ wade, wad. _p. p._
wooden.
=widifu=, =widdifu=, =widifau=, =widdefu=, IV, 84, 7, 10, 11, 13; 85,
3; V, 253 f., No 203, =D= 2, 8: one qualified to fill a widdie or
halter.
=widna=, =widne=, would not.
=wiel-wight=, IV, 222, 9: bold, stanch. See =well-wight=.
=wierd.= See =weird=.
=wigger.= See =wicker=.
=wight=, =wyght=, =wicht=, =whight=, I, 330 f., =A= 3, =B= 3, =C= 3;
333, 4; II, 409, 16; III, 63, 152; 414, 49: strong; but also, denoting
bodily activity, brisk, as III, 117, 20; III, 63, 148, of John, who has
shot well. III, 27, 97; 65, 195; 75, 389; 78, 448, Adam Bell, Clim, and
William, and Robin Hood’s men are wight young men. III, 91 f., 6, 8,
Guy of Gisborne is a wight yeoman: sturdy. See =well-wight=. wighty,
III, 94, 48, has perhaps caught the y from the word following. See
=wighty=.
=wightdom=, III, 488, 26: weight.
=wightlye=, II, 58, 10: with vigor, or briskness.
=wight-men=, II, 433, 7: waith-men, hunters. (Icel. veiði-maðr, Germ.
weidmann.) See =waythmen=.
=wightsmen=, IV, 432, 1: wechtsmen, winnowers. wecht is “an instrument
for winnowing corn, made of sheep’s skin, in the form of a sieve, but
without holes.”
=wighty=, III, 32, 45, 50; 94, 48; 362, 70:==wight, strong. See =wight=.
=wil=, IV, 472 f., 24, 25: wild, perhaps vile.
=wild=, I, 334, 6: would.
=wild-fire=, III, 281, 12: ignis fatuus. (slack here is marsh.)
=wild-wood swine=, =steer=, drunk as, II, 144, 3, 4; 368, 7: a popular
comparison like, drunk as a dog.
=wile=, vile.
=wilfull=, III, 92, 24, wilfull of my way: (Scottish will, Icel. villr)
astray, lost; _and of my morning tyde_ may be that he does not know the
hour, or, he has lost his time as well as his road. See =will=.
=wile=, =wyle=, =weil=, =wale=, I, 428, 13; 429, 7, 8; II, 344, 12; IV,
287, 14; V, 127, 20, 21; 157, 9: choose.
=will=, _pret._ wald, walde, wad, wade, wild, wid, wud.
=will=, =would=, _ellipsis of_. as muckle guid canvas as wrap the ship
a’roun, II, 28, 22. there’s nane come, win, II, 89, 34; 99 b, 34. So,
II, 26, 11; 375, 23; IV, 131, 13; 379, 11; 380, 7; 381, 8, 10; 382, 13;
V, 177, 9; 184, 38; 276, 14.
=will=, V, 16, 10, 15, 20: bewildered, at a loss what to do. will of
his way, V, 70 b: lost, astray. See =wilfull=.
=willinglye=, I, 272, 22: at will, freely.
=williwa=, IV, 19, =C= 6: wellaway, interjection of (affected)
reluctance.
=willy=, willow.
=wilsome=, IV, 235, 3: erratic, intricate.
=win=, I, 72, 22, 23: whin, furze, gorse. See =whin=.
=win=, =wynne=, =won=, =wonne=, =hay=, III, 295, 1; 299, =B= 1, =C= 1;
V, 243, 1: dry by airing.
=win=, =wine=, =wynne=, =wen=, =won=, make your way, arrive. III, 71,
314; IV, 314, 15: get, go. IV, 189, 2, 4, 6: arrive, get there. win
down, I, 481, 39. win frie, III, 453, 11. lat me win in, II, 148, 25:
get in. win up, I, 368 f., 34, 36, 44, 47: get up. win on, I, 388, A 7:
go on, keep on. win through, I, 21 b, 4: transitively, allow, cause,
to pass through. win to, I, 466, 13; V, 262, 17: get to, arrive at.
_pret._ wan. _p. p._ wone, wan, win, wine, wen.
=win=, _p. p._ of win, I, 101, 15; IV, 189, 15; 220, 3; 446, 17; 467,
8, 9.
=win your love aff me=, II, 207, B 2: detach your love from me.
=wine=, _p. p._ of win, V, 276, 22.
=winder=, I, 430, 1: wonder, wondrous. See =wonder=.
=windie=, II, 362, 3: window.
=windling sheet=, III, 245, B 13: winding-sheet.
=winking=, II, 463, 16: with eye closed as if blind.
=winn=, in your barn, IV, 323, 6: do harvest work generally, dry corn,
etc., by exposing to the air. (unless meant for winna, winnow.)
=winna=, IV, 326, 7: winnow.
=winna=, =winnë=, will not.
=winten=, V, 248, 7: (wanting) without.
=winter=, =wynter=, III, 58, 47; 64, 162; 285, 20: year(s).
=wir=, I, 217, 9: our.
=wire-window.= See =weir-window=.
=wis=, I, 217, 9: us.
=wis=, you wis, IV, 233, 13: know.
=wis=, III, 319, 20, 24; V, 206 a, No 2, 4: was.
=wish=, _pret._ of wash, V, 36, 14.
=wiss=, _n._, I, 420, 12; II, 194, 8: wish.
=wiss=, =wis=, _v._, I, 22, 6, 8; 217, 3; III, 453, 3; IV, 168, =E= 15;
169, 12; 461, 8, 9: wish. _pret._ wist, II, 423, =A= 1; III, 434, 20;
V, 248, 18.
=wiss=, I wiss, III, 223, 10: perhaps for I wot (not i-wiss). wist,
III, 187, 32; 222, 34: know. (I wist, 187, 32==assuredly.)
=wist=, _pret._ of wiss, wish. See =wiss=.
=wiste=, =wist=, _pret._ of wat, etc., I, 243, 6; 334, 6; 368, 23; 413,
37. _p. p._ west, III, 113, 70.
=wit=, =witt=, _n._, III, 393, 22, 23; 419, 8, 12; IV, 509 a, 11; 512,
16, 17: knowledge, information.
=wit=, =wite=, =wyte=, I, 334, 6; II, 307, 34; III, 67, 230; 385, 15,
16; 396, M 8; IV, 98, 2; 221, 5; 508, 10, 11; 513, 6, 7; V, 81, 7; 82,
23: know. _p. p._ wit, IV, 98, 2.
=wite=, I wite, II, 160, 18; IV, 260, 12; 277, 5: I know-indeed. See
=wat=, =wyte=.
=wite=, =wyte=, =witt=, _n._, I, 350, 12; II, 145, 25; 146, 8; 312, 30;
IV, 33, 28; 127, 1; 207, 21; V, 171, 5; 247, 11: blame.
=wite=, =wyte=, _v._, I, 397, 13; II, 271, 19; 273, 25; III, 357, 53:
blame. _pret._ wate, II, 273, 25.
=with=, I, 334, 7: wit, know (orthography doubtful).
=with=, =wyth=, III, 297, 42; 358, 75; 434, 23: by.
=with that=, II, 478, 5; III, 76, 414; V, 298 a: on condition that.
=wither=, =wather=, V, 105, =B= 7, 8: wether.
=witherlands=, =witherlins=, IV, 378, 5; 380, 11: (-lins, -lingis as
in Scottish backlingis, backlins, English sidelins, sidelong; -lands a
corruption of -lins) in a contrary, unwished-for, direction.
=withershins=, II, 318 =a=, 2: (M. H. Germ, widersinnes) in the wrong
direction, in a direction contrary to the usual, or the desired
(contrary to the course of the sun, often, but not necessarily here).
=within me=, lept, III, 127, Play 12: inside of my guard (?).
=withouten=, =withowghten=, I, 425, =f= 9, 10; III, 272, 6; 296, 18:
without. See =wythowtten=.
=witt=, knowledge. See =wit=.
=witt=, _n._, blame, V, 247, 11. See =wite=.
=witted=, V, 132, 2: minded.
=witter=, I, 399, =A b= 8:-wittering, information.
=wittering=, I, 394, 8: information, indication.
=witty=, III, 131, 3: corruption of wight, wighty.
=wo=, =woo=, =woe=, II, 59, 33; 86, 16; 139, 20; III, 23, 23; 27, 101;
70, 297; 97, 19: sad, unhappy. a woe ses me, II, 504, 27: exclamation
of distress; perhaps corruption of, woe is.
=wobs=, I, 305 a, =A= 3: webs (of cloth).
=wod=, =wode=, mad. See =wood=.
=wode=, III, 54, 3: went.
=wode=, V, 283, 9, 19: wood.
=wode-shawe.= grene-wode shawe, greenwood shaw, III, 57, 14; 70, 284;
IV, 427, 1: thicket of the wood. (wood-shaw is of rather frequent
occurrence and Halliwell cites, under the shawe of the wood, Morte
d’Arthur, I, 374).
=wodewale=, =woodwele=, =woodweele=, I, 326, 2; III, 91, 2: wood-lark
(?).
=woe.= See =wo=.
=wol=, _v._, V, 283, 1, etc.: will.
=wolt=, _v._, V, 283, 4: wilt.
=wolwarde=, III, 77, 442: with skin against wool, that is wearing a
woolen fleece directly against the skin.
=won=, =wone=, one.
=won=, I, 18, =I= 1; 174, 1; 246, 1; 299, 6, 17; II, 419, 44, 51; III,
71, 315; IV, 19, =C= 5; 26, 15: dwell.
=won=, =wonne=, =win=, hay, III, 293 a; IV, 432, 1; 499, 1: dry by
airing.
=won=, =win=, I, 464, 15; 506, 7; II, 89, 32; 140, 22; 172, 24; 256,
=K= 2; 407, 12; IV, 242 a; 259, 21, 23: get, go, come, arrive. II, 316,
3, 7; IV, 115, =D= 9: gain, earn. (spelt one, IV, 284, 23; corrected to
win.) _p. p._ wone, V, 276, 20. See =wun=.
=wonder=, III, 411, 2: bewilderment? disaster?
=wonder=, V, 283, 1: wondrous. See =winder=.
=wone=, III, 98, 25: number, plenty.
=wone=, withowtyn, withowt wone, V, 78 f., 9, 23: fail.
=wonige=, I, 334, 7: dwelling. Qy. wonninge?
=wonynge=, wonning, III, 63, 148; 86, 148: dwelling.
=woo=, wool.
=woo.= See =wo=.
=wood=, =woode=, =wode=, =wod=, =wud=, I, 242, 7; 244, 9; 328, 51; 348,
12, 18; II, 183, 26; 242, 30; 245, 27; V, 80, 42: mad.
=woodcock(e)=, III, 199, 27; 201, 31: tropically, fool (from the bird’s
reputation for folly). (A proverb, perhaps.)
=wooden=, _p. p._ of wide, wade, I, 324, =B= 6.
=woodweele=, =wodewale=, III, 91, 2 (MS. woodweete): woodwale,
woodlark? (generally explained as woodpecker; sometimes as thrush,
red-breast).
=woon=, =won=, _v._, III, 146, 16: dwell.
=woone=, III, 358, 77: domicile.
=woot=, V, 82, 26, 41: wolt, wilt.
=word=, att a, I, 411, 9: in short.
=wordie=, III, 269, 12: worthy.
=wordlye make=, II, 86, 18, 20: earthly mate, consort. See =warld=.
=wordy=, IV, 135, 16: worthily.
=worrie=, =worry=, _v._, (of smoke, flame) III, 434, 15; 435, 14; 437,
24; IV, 514, 20: choke.
=worselaid=, V, 217, =H= 2: wrestled.
=worset=, worset lace, III, 11, =J= 1: worsted; _lace_ must be meant
for web; it cannot mean cord, and seems quite out of place.
=worth=, wat sal worth of, I, 334, 11: come, come to pass. wo the
worth, worth the! III, 65, 189; 70, 296; 400, 1: come, be, to thee.
woe worth you, wae worth ye, II, 245, 27; V, 247, 10; 248, 11. wae mat
worth, IV, 236, 28; 428, 6; V, 166, 10; 306, 10: may wo come to.
=wou=, I, 244, 13: how.
=wouche=, III, 308, 26: (A. S. wóh, Scott, wouch) evil, harm.
=would=, _ellipsis of_, II, 375, 23; IV, 131, 13; V, 177, 9; 184, 38;
etc. See =will=.
=wound=, _pret._, II, 148, 4; IV, 15, 19; 392, 19: wounded.
=wow=, I, 101, 20; 299, 8, 10, 12; II, 260 f., 1, 11, 14: exclamation
of distress. IV, 65, 1; V, 272 a, 9: exclamation of admiration,
sorrowful surprise. II, 282 2; IV, 271, =A= 3, 4, 7, 9; V, 197, 6: of
confirmation, (vow!). See =vow=.
=wrack=, ruin.
=wrack=, V, 122, 11: mischief! devil!
=wraft=, I, 424, =b= 12, 13: waft (woof) misspelt.
=wraikit=, III, 427, note ‡: wrecked, destroyed.
=wraith=, wroth.
=wraith=, I, 134, =N= 15; III, 505, 12: apparition.
=wreck=, sea-wreck, IV, 442, 7: whatever is thrown up by the sea.
=wreke=, _p. p._, I, 243, 6: avenged.
=wril=, V, 73 a: a drinking-word, in response to pril.
=wrist=, III, 179, 4; 181, 16; 188, 3: ankle, instep. (Icel. rist,
instep, ristar-liðr, instep-joint; Germ, rist, instep or wrist;
fotwerst, fotwriust, hondriust, Richthofen, Altfriesisches Wörterbuch.)
=writer=, =writter=, IV, 131, 18; 135, 25: scrivener. IV, 180, =D= 2,
3; 181, 3; V, 256 a, 2, 3: attorney (?).
=writhe of=, III, 413, 34: (_pret._ of writhe, twist) twisted off.
=writs= (things written), papers.
=writter.= See =writer=.
=wrobbe=, I, 326, 4: wrabbe, warble? or Scottish wrable, warble,
wriggle? J. A. H. Murray.
=wrocht=, wrought.
=wrocken=, =wroken=, _p. p._, III, 91, 3: avenged.
=wrongeous=, II, 129, 25: unjust.
=wrought=, _p. p._, II, 46, 40: rought, recked.
=wrought=, _pret._, I, 286, 51: raught, reached.
=wrthe=, I, 243, 5: worthy.
=wruched=, I, 286, 47: thrown up (ruck, a heap, to gather in heaps);
perhaps, thrown ashore as wrack (Icelandic rek, originally vrek, reki,
originally vreki, a thing drifted ashore).
=wrye=, I, 326, 4: twist.
=wud=, II, 249, 19: mad. See =wood=.
=wud=, I, 78, 53: would.
=wuddie=, IV, 69, 18: widdie, withy, a rope of willow-twigs.
=wuman=, V, 304 b, 1, 2: woman.
=wun=, _n._, II, 315, =E= 6: wind.
=wun=, _v._, II, 190, 4, 10: win, gain. See =won=.
=wundouten nay=, I, 334, 9: without, beyond contradiction, truly.
=wus=, V, 304 b, 1: was.
=wush=, _pret._ of wash, III, 386, 20; IV, 166, =C= 7. _p. p._ wushen,
I, 490, 22.
=wuther=, V, 304 b, 3, 4: wether.
=wyght=, _adj._, strong, sturdy, active. See =wight=.
=wyȝth=, _n._, V, 283, 14: wight.
=wyld=, III, 307, 6: (like Germ. wild) deer; or, perhaps, an adjective
with noun to be supplied, of which there are several cases in the
ballad.
=wyle=, choose. See =wile=.
=wyled=, they wyled the bonny lassie by, IV, 205, 26: the meaning
cannot be that they (a troop of gentlemen) enticed the lassie aside.
Mr. Forbes suggests, very plausibly, wyled (waled, took) their way past
the lassie.
=wyliecot=, V, 107, 2: under-vest.
=wynd=, alley, lane.
=wynke=, III, 77, 441: shut the eyes.
=wynne=, III, 296, 22: joy, pleasure.
=wynne=, _v._ See =win=.
=wynter=, =winter=, III, 58, 47; 64, 162; 285, 20: year(s).
=wyse in=, V, 156, =B= after 16: show the way in (?), let in.
=wystly=, III, 76, 410: observingly, thoughtfully.
=wyte=, I wyte, I, 332, =G= 3; II, 376, 25; IV, 32 f., 6, 17, 19, 27;
136, 13; 278, 21; 410, 25; V, 299 b, 1, 300, 14, 17, 18: (I know)
indeed, assuredly. II, 307, 34: I know, simply. See =wit=, =wyte=.
=wyte=, _n._ and _v._, blame. See =wite=.
=wyth=, =with=, III, 297, 42; 358, 75; 434, 23: by.
=wythe=, I, 334, 11: wight, strong. (Orthography questionable.)
=wythowtten=, drede, III, 296, 8: without, beyond doubt. withowghten
naye, 296, 18: beyond denial. wythowghten (withouten) stryffe (strife),
295, 2; 299, =B= 2: beyond contestation. See =withouten=.
X
=xal=, I, 242, 8, 9; III, 13 f., 7, 10-12, 14: shall.
=xalt=, III, 13 f., 9, 16, 17: shalt.
=xul=, _sing._ and _pl._, III, 13, 4, 12: shall.
=xuld=, I, 415 b: should.
Y
(See also under =ȝ=, at the end of =G= and =I=.)
=y=, first y, III, 3, 15: ae, one. See =a=, =ae=.
=yad=, III, 483, 5, 9: jade, mare.
=yae=, I, 446, 8, 9: ae, only. II, 183, 17: every. See =a=, =ae=.
=yard=, =yerde=, I, 287, 63; III, 75, 397: rod, stick.
=yard o stane=, I, 466, =B= 23: perhaps, garden stane, something being
meant equivalent to the fountain stane of =A= 23, at which the lady was
christened.
=yare=, =ȝare=, II, 261, 6; III, 98, 24: ready.
=yate=, =yeat=, =yett=, I, 68 f., 23, 69; II, 336, =P= 2; III, 268, 15;
V, 28, 60: gate. ȝates, ȝatis, III, 99, 61, 62.
=yatid=, I, 334, 10: granted. (A. S. géatan).
=ychon=, III, 101, 88: each one.
=ydrawe=, III, 91 a: drawn.
=ydyght=, =idyght=, III, 62, 131, 132: prepared, made, fabricated,
adjusted. III, 75, 392: made ready.
=yeaman.= See =yeman=.
=yeard-fast=, =yird-fast=, II, 88, 11; 94, 8; 97, 15: fixed firmly in
the earth.
=yearl=, II, 191, 20: earl. See =yerl=.
=yeat=, IV, 68, =D= 1: gate. See =yate=.
=yebent=, III, 308, 25: bent.
=yede=, =yeede=, =yeed=, =yed=, =ȝede=, =yode=, =yod=, _pret._ of gang,
gae, go, I, 211, 37; III, 73, 346; 76, 408; 83 and 86, 160; 99, 60;
110, 18; 163, 69: went.
=yee=, III, 297, 39: eye.
=yeen=, I, 333, 2: towards, on.
=ye feth=, i faith.
=yeff=, =yeffe=, V, 79 f., 17, 51, 53, 54: if.
=yeffell=, III, 109, 6; 111, 34: evil, ill.
=yeffor.= See =yeuer=.
=yeft=, III, 70, 295: gift.
=yeldyde=, surrendered.
=yellow-fit=, yellow-foot[ed].
=yeman=, =yeaman=, III, 22, 4; 24, 43; 25, 51; 28, 121; 30, 165, 170;
56, 1, 3, etc.: yeoman.
=yemanr(e)y=, =yemenrey=, =yeomanry=, =yeomandree=, =yeomandrie=,
=yeomendry=, III, 58, 45; 110, 23; 113, 83; 123, 19; 157, 31; 186, 14;
192, 23; 204, 31: class or company of yeomen; what is in accordance
with a yeoman’s principles, idea or character.
=yend=, III, 110, 17: yond, yon.
=yenoughe=, enough.
=yeomanry=, =yeomandrie=, etc. See =yemanr(e)y=.
=ye’r=, V, 306 b, 2: ye are.
=yerde.= See =yard=.
=yerl=, =yerle=, =yerlle=, =yirl=, =yearl=, III, 298, 52, 60; 308, 19;
309, 33; IV, 298, =G c= 11: 354, 7: earl.
=yerly=, III, 307, 7: early.
=yerning=, I, 334, 10: desire.
=ye’se=, ye shall. See =s=.
=yestreen=, II, 20, 7; 21, 7; 22, 6; 23, 7, etc.; V, 299 a, 1:
yesterday even, yesternight. See =streen=.
=yet=, =yett=, I, 204, 11; 207, 20; 465, 11, 15; 472, 17, 18, 21; III,
269, 11; 270, 15: gate. See =yate=.
=yett-pin=, IV, 483 b: bolt, or latch, of a gate.
=yeuer=, =yeffor=, III, 113, 82; V, 79, 33; 80, 52: ever.
=ygeve=, V, 298 a: given.
=yield=, IV, 514, 9: grant, concede.
=yill=, III, 449, 8; IV, 481, 6; V, 99, 9: ale.
=yird-fast.= See =yeard-fast=.
=yirl=, IV, 69, 9: earl. See =yerl=.
=ylk= a, I, 328, 45: each, every. See =ilka=.
=ylke=, III, 61, 95: same. See =ilk=.
=yll=, with grete, III, 26, 90: in much distress.
=ymet=, III, 85, 72: measured.
=ympe tree=, I, 216 a: a grafted fruit tree; here, perhaps, apple, see
I, 340 a.
=ynowe=, III, 113, 80: enough.
=yo=, V, 296 a: you.
=yo=, V, 296 a: your.
=yode=, =yod=, =youd=, _pret._ of gang, gae, go, I, 333, 1; II, 138,
12; 265, 9; 483, 7; III, 110, 25: went. good, III, 464, 4. gude, V,
153, 1. See =yede=.
=yolden=, III, 282 b: surrendered.
=yon=, such a blast as yon, III, 4, 7: that.
=yonders=, III, 187, =b= 13; 193, =b= 17; 259, 16, 17; 264, =A= =b=,
=c= 17: yonder.
=yont=, I, 431, 3; II, 82, 51: beyond. lie yond, yont, II, 82, 49; 168,
12; IV, 345, 11; 494, 40: further off.
=you=, =yowe=, IV, 195 f., 1, 4, 10, 12, 17; 198, =F= 6; 206, 1; 261,
20: ewe.
=youd=, II, 138, 12: went. See =yode=.
=young son=, of a babe just born, I, 183 f., 32, 45, 47; II, 89, 35;
91, 30, 33, 35, =D= 29; 92, 22; 93, 9-12, etc.; called auld son, being
the oldest because the only one, I, 184, 3, 8, 9. See =auld son=, =old
son=.
=yowe-bucht.= See =bucht=.
=yowre=, V, 78 f., 7, 15: our. (But _owre_ twelve times in the same
piece, _howre_ six.)
=y-slaw=, _p. p._ of slay, III, 28, 140.
SOURCES OF THE TEXTS OF THE ENGLISH AND SCOTTISH BALLADS
MANUSCRIPTS.
MS. B. 14. 39, Library of Trinity College, Cambridge, 13th century.
Recently recovered (see V, 288). (No 23.)
Rawlinson MS. D. 328, 15th century (before 1445). Bodleian Library. (No
1.)
MS. F. f. 5. 48, Library of the University of Cambridge, c. 1450. (No
119, =a=.)
One leaf of MS. in Bagford Ballads, vol. i, art. 6, British Museum, c.
1450. (No 119, =b=.)
Sloane MS. 2593, British Museum, c. 1450. (Nos 22, 115.)
MS. E. e. 4. 35, Library of the University of Cambridge, C. 1500. (No
121.)
Rawlinson MS. C. 813, beginning of the sixteenth century. Bodleian
Library. (No 111.)
Cotton MS. Cleopatra, C. iv., British Museum, c. 1550. (No 161, =A=,
=a=.)
MS. Ashmole 48, Bodleian Library, Oxford, 1550, or later. (No 162.)
MS. in York Minster Library, 16th century. (No 167, =C=, IV, 503.)
Cotton MS. Vespasian, A. xxv, British Museum, end of 16th century. (No
178.)
Harleian MS. 293, leaf 52, British Museum, about 1620. (No 161 =A=,
=b=.)
Percy MS., British Museum, Additional MSS, 27879, c. 1650.
Philiphaugh MS. of No 305, Edinburgh, 1689-1708(?). Not now accessible:
printed by Aytoun. A supposed transcript extant among the Philiphaugh
papers is not older than 1848. (V, 191.)
Fly-leaf of a volume printed at Edinburgh, 1670. Laing MSS, Div. II,
358, Library of the University of Edinburgh. (Fragment, V, 202 b.)
Elizabeth Cochrane’s Songbook, Collection of Songs English and Scots,
1730(?). Harvard College Library. (Nos 5, =E=, I, 76; 76, =A=, II, 215;
144, =B=, III, 195; 293, =A=, V, 160.)
Mrs Cockburn’s MS. of No 305, used by Scott, and described by him as
“apparently of considerable antiquity.” Edinburgh. Not now accessible.
(V, 191.)
Bishop Percy’s papers. MS. copies of ballads from Rev. P. Parsons of
Wye, Miss Fisher of Carlisle, Principal Robertson of Edinburgh, the
Dean of Derry, George Paton of Edinburgh, Rev. Robert Lambe of Norham,
Roger Halt, the Duchess Dowager of Portland, and others. In all about
33. 1766-80. Harvard College Library.
David Herd’s MSS, two volumes folio, the second volume duplicating a
portion of the first. 1776. British Museum, Additional MSS, 22311-12.
(See Mr H. L. D. Ward’s Catalogue of Romances, I, 531.[130])
MSS of Mrs Brown of Falkland. 1783-1801.
(1) Jamieson-Brown MS., mostly taken down from the mouth of Mrs Brown
by Professor Scott of Aberdeen about 1783. Laing MSS, Library of the
University of Edinburgh.
(2) William Tytler’s Brown MS. Fifteen ballads, with the airs:
thirteen being revisions of pieces in (1). Presented by Mrs Brown
to W. Tytler in 1783. Described by Anderson in a letter to Percy,
Nichols’s Illustrations, VII, 176 ff. The MS. has disappeared, but,
excepting one, all the pieces it contained are substantially known
from (1) or other sources.
(3) Alexander Fraser Tytler’s Brown MS. Nine ballads sent A. F. T.
by Mrs Brown in 1800; with the airs. Anderson, as above, VII, 179 f.
Aldourie Castle, Inverness-shire.
Sir Walter Scott’s collection, Abbotsford. 1783-1830.
(1) Small folio without title, Library, L 2 (Catalogue, p. 57). Two
fragments.
(2) ‘Scottish Songs,’ 1795. Library, N 3 (Catalogue, p. 104). Seven
ballads with airs and three fragments. All the ballads appear to be
Mrs Brown’s copies altered.
(3) Letters addressed to Sir Walter Scott, 1796-1831. Ballads
enclosed have in most cases been removed, but some seven remain.
(4) ‘Scotch Ballads, Materials for Border Minstrelsy,’ a folio volume
made up at a recent date from detached pieces to the number of above
eighty.
(5) ‘North Country Ballads’ in a quarto volume with the title
‘Miscellanea Curiosa,’ Library =B= 5 (Catalogue, p. 15).
(6) ‘Miscellanies,’ a folio with one ballad and a fragment.
Glenriddell MS., 1791. In vol. XI of Robert Riddell’s collection
of Scottish Antiquities. (There is an earlier transcript of one of
the ballads in vol. VIII.) Library of the Society of Antiquaries of
Scotland.
MS. described by Scott as the ‘collection of an old lady’s complete
set of ballads.’ In two portions, the first in 53 pages, on paper of
1805-6-7; the second in 10 pages, on paper of 1818. Contains thirty-two
popular ballads and gives the titles of others known to the compiler.
Obtained by Skene of Rubislaw in the north of Scotland (but obviously
not so early as 1802-3 as endorsed by Scott on the cover of the Skene
MS.), turned over to Scott by Skene, and in 1823 by Scott to C. K.
Sharpe. In the possession of Mr Macmath.
Skene MS., nine separate quires, amounting in all to 125 pages, and
containing thirty-six pieces. Almost all of these are found in the Old
Lady’s Collection, from which they appear to have been transcribed,
but with misreadings and changes. 118 pages in the possession of Mr
Alexander Allardyce of Edinburgh; the remainder in the possession of Mr
Macmath.
Pitcairn’s MSS, 1817-25. Three volumes in the writing of Robert
Pitcairn; partly from printed sources. In the possession of the
representatives of Mr James L. Mansfield, Edinburgh.
Charles Kirkpatrick Sharpe’s Collection (besides the Old Lady’s MS. and
the Skene MS.). (1) ‘Songs,’ 12mo, in Sharpe’s handwriting. (2) MS. of
32 pages, small 4to, on paper of 1822, not in Sharpe’s hand. (3) MS. of
12 pages, on paper of 1820, not in Sharpe’s hand. (4) An independent
transcript by Sharpe of the pieces entitled by Scott ‘North Country
Ballads.’ (5) Letters from Motherwell to Sharpe, enclosing ballads. (6)
Single copies of ballads, not in Sharpe’s hand. All in the possession
of Mr Macmath.
Motherwell’s MS., 1825 and after. A folio, almost entirely in
Motherwell’s hand, containing, besides some pieces not indexed, 228
indexed ballads. Most of these are from the West of Scotland, but not
a few were given Motherwell by Buchan and are duplicates of copies
which occur in Buchan’s MSS. In the possession of Mr Malcolm Colquhoun
Thomson, Glasgow.
Motherwell’s Note-Book, c. 1826-27. A small octavo containing various
memoranda referring to ballads, including the whole, or a portion, of
several copies. Formerly in the possession of Mr J. Wylie Guild.
Kinloch MSS, 1826 and after. Seven volumes, the fourth being an
interleaved (printed) copy of Kinloch’s Ancient Scottish Ballads with
additions and variations. Vols I, II, III, VII, are almost wholly in
Kinloch’s hand; V, VI are mostly in the writing of James Beattie, John
Hill Burton, and Joseph Robertson. Harvard College Library.
Peter Buchan’s MSS, about 1828. Two volumes, folio. British Museum,
Additional MSS, 29408-9. For a description, see Mr Ward’s Catalogue of
Romances, etc., I, 537.
Mr. David Scott of Peterhead possesses a volume entirely in Buchan’s
writing “which contains all [the ballads] that Buchan ever collected
except some ‘high-kilted’ ones in another volume.” [The two volumes
here mentioned are now in the Child Memorial Library of Harvard
University. The “high-kilted” volume is entitled ‘Secret Songs of
Silence.’]
Joseph Robertson’s MSS, 1829-32. Four small notebooks, one entitled
‘Journal of Excursions;’ another, ‘Adversaria’; also an annotated copy
of The New Deeside Guide [1832]. In the possession of Dr Robertson’s
representatives.
John Hill Burton’s MSS, 1829-30. Mostly in the Kinloch collection,
but his daughter, Mrs Rodger, Aberdeen, has a small volume containing
portions of two ballads.
Alexander Laing of Brechin’s MS., 1829-35. ‘Ancient Ballads and Songs,
etc., etc., from the recitation of old people; never published, 1829.’
Three ballads and a fragment. Harvard College Library.
Robert White’s Papers, 1829 and after. Ballads selected from his
_collectanea_ by Mr White of Newcastle-on-Tyne. Harvard College Library.
British Museum, Additional MSS, 20094. 1829. (No. 4.)
Campbell MSS, 1830 or earlier. ‘Old Scottish Songs collected in the
counties of Berwick, Roxburgh, Selkirk and Peebles.’ 2 volumes.
Collector unknown. At Marchmont House, Berwickshire.
‘Scottish Songs and Ballads,’ copied probably before 1830, by a
granddaughter of Lord Woodhouselee, mostly from print or from A. F.
Tytler’s Brown MS., but containing two or three versions of popular
ballads not found elsewhere.
Harris MS. Ballads learned by Amelia Harris in her childhood from an
old nurse in Perthshire (the last years of the 18th century); taken
down by her daughter, who has added a few of her own collecting. With
an appendix of airs. Harvard College Library.
Joseph Robertson. An interleaved and annotated copy of The New Deeside
Guide [1832] (of which J. R. was the author).
Gibb MS., 1860. Twenty-one ballads written down from the recitation of
his mother by Mr James Gibb of Joppa, representing the form in which
ballads were recited about the beginning of the century in Angus and
Mearns. Harvard College Library.
David Louden’s MS., 1873. Contains four popular ballads derived from
reciters in Haddingtonshire. Harvard College Library.
Murison MS., about 1873. Some forty pieces collected by Mrs A. F.
Murison in Old Deer, among which there are several traditional popular
ballads. Harvard College Library.
A few detached ballads collected by Dr Alexander Laing of
Newburgh-on-Tay. About 1873.
Findlay MSS. Two volumes, the first (only) containing several ballads
and many fragments gathered from recitation by Rev. William Findlay, of
Saline, Fifeshire, 1865-85. In the hands of the collector.
Macmath MS. Ballads and songs recently collected by Mr Macmath. In the
possession of the collector.
“Common Place Book filled with a collection of Old Ballads of the 17th
century,” a MS. formerly belonging to J. Payne Collier, now in the
British Museum. Contains thirty ballads written in a forged hand of the
19th century, some of the pieces being also spurious. Nos 8 =C=, 137,
168 are in this MS.
Communications, noted in their places, of a single ballad or of several
ballads, taken down or remembered by friends or correspondents in
Europe and America, and several taken down by myself. [Child MSS,
Harvard College Library.]
PRINTED SOURCES.
A Gest of Robyn Hode. Fragment without printer’s name or date, but of
the end of the 15th or beginning of the 16th century: the eleventh and
last piece in a volume the other contents of which are nine pieces
printed by Walter Chepman and Andrew Myllar--three of these purporting
to be printed at Edinburgh in 1508--and one other piece the printer of
which is also unascertained. Advocates’ Library, Edinburgh.
A Lytell Geste of Robyn Hode, etc. Wynken de Worde, London, n. d.
(1492-1534). Library of the University of Cambridge.
Three fragments (one of which was attributed to Wynken de Worde by
Ritson). Douce, Bodleian Library.
A Mery Geste of Robyn Hoode, etc. London, Wyllyam Copland, n. d.
(1549-69). British Museum.
A Merry Iest of Robin Hood, etc. London, Printed for Edward White, n.
d. (1577-1612). Bodleian Library.
The sources of the later Robin Hood ballads may more conveniently be
entered here, than in regular course. Articles n. d. may of course
not be in strict chronological order.
Broadside copies in the Wood, Pepys, Douce, Roxburghe, and Rawlinson
collections.
Martin Parker, A True Tale of Robbin Hood. London, 1634(?). British
Museum, C. 39, a. 52.--The same. By Clark, Thackeray, and Passinger.
London, 1686. Bodleian Library.
Robin Hoods Garland; or Delightful Songs, Shewing the noble Exploits
of Robin Hood, and his Yeomendrie. With new Edditions and Emendations.
London, Printed for W. Gilbertson, at the Bible in Giltspur-street
without Newgate, 1663. (17 ballads.) Wood, Bodleian Library.
Robin Hoods Garland. Containing his merry Exploits, and the several
Fights which he, Little John, and Will. Scarlet had, upon several
occasions. Some of them never before Printed. [London,] Printed for
F. Coles, T. Vere, and J. Wright. 1670. (16 ballads.) Douce, Bodleian
Library.
Robin Hood’s Garland. Printed by C. Dicey in Bow Church Yard, n. d.
(before 1741).[131]
Robin Hood’s Garland, without place or printer. 1749. Percy Papers,
Harvard College Library.
Robin Hood’s Garland. Printed by W. & C. Dicey, in St. Mary Aldermary
Church Yard, Bow Lane, Cheapside, and sold at the Warehouse in
Northampton, n.d. (c. 1753).[131]
The English Archer ... Robin Hood. Paisley, printed by John Neilson for
George Caldwell, Bookseller, near the Cross, 1786.[131]
The English Archer, or ... Robin Hood. York, printed by N. Nickson in
Feasegate, n. d.[131]
Robin Hood’s Garland. Printed by L. How in Peticoat Lane, n. d.[131]
Robin Hood’s Garland. London, J. Marshall & Co., Aldermary Churchyard,
n. d. Harvard College Library.
Robin Hood’s Garland. London. R. Marshall, in Aldermary Church Yard,
Bow Lane, n. d. Harvard College Library.
Captain Delany’s Garland. In a collection of folio sheet-ballads mostly
dated 1775. Edinburgh (?). British Museum, 1346. m. 7. (9.)
Robin Hood’s Garland. York, T. Wilson and R. Spence, n. d.[131]
Robin Hood’s Garland. Preston, Printed and sold by W. Sergent, n.
d.[131]
Robin Hood’s Garland. Wolverhampton, Printed and sold by J. Smart, n.
d.[131]
Adventures of ... Robin Hood. Falkirk, Printed and sold by T. Johnston,
1808.[131]
The History of Robin Hood and the Beggar. Aberdeen. A. Keith
(1810-35).[131]
* * * * *
Adam Bell, Clim of the Clough, and William of Cloudesly. Two fragments
of an edition by John Byddell. London, 1536. Library of the University
of Cambridge.
A fragment by a printer not identified, formerly in the possession of
J. Payne Collier. (No 116.)
Adambel, Clym of the cloughe, and Wyllyam of cloudesle. William
Copeland, London, n. d. (1562-69. See Arber, Transcript, V, 25).
British Museum.
Adam Bell, Clim of the Clough, and William of Cloudesle. London,
Printed by James Roberts, 1605.[131]
[Thomas Ravenscroft.] Deuteromelia, or, The Second Part of Musicks
Melodie or Melodius Musicke, etc. London, 1609.
[Thomas Ravenscroft.] Melismata, Musicall Phansies, fitting the Court,
Cittie, and Countrey Humours. London, 1611.
Thomas Deloney. Pleasant History of John Winchcomb, in his younger
years called Jacke of Newberie: reprint of the 9th edition, of London,
1633, by J. O. Halliwell. London, 1859.
The History of the Houses of Douglas and Angus, written by Master David
Hume of Godscroft. Edinburgh, 1644.
Broadsides: mostly of the second half of the 17th century.
Wood, Rawlinson, Douce collections. Bodleian Library. Here from the
originals.
Pepys collection. Magdalen College Library, Cambridge. Mostly from
the originals.
Roxburghe collection. British Museum. Here sometimes from originals,
sometimes from The Roxburghe Ballads, Ballad Society. Vols I, II,
edited by William Chappell, London, 1871-80. Vols IV-VII, edited by
J. W. Ebsworth, 1883-93.
Bagford Collection. British Museum. Here from the Bagford Ballads,
Ballad Society, edited by J. W. Ebsworth, 2 vols. Hertford, 1878.
Osterley Park Library, British Museum, c. 39, k. 6 (60). 1690(?).
Laing (Scottish) Broadsides, c. 1700. In the possession of Lord
Rosebery.
A Scottish Broadside formerly in the possession of J. Maidment, c.
1700. (No 162.) Harvard College Library.
“Ballard’s Collection” (so cited by Percy).
Pepys Penny Merriments. Magdalen College Library, Cambridge.
The King’s Pamphlets. British Museum, 669. f. 20, 55. 1657.
Wit Restord, in several select poems not formerly publisht. London,
1658 (in Facetiæ, Musarum Deliciæ, 1656, Wit Restord, 1658, and Wits
Recreations, 1640. 2 vols. London, 1817).
Wit and Drollery, Jovial Poems. Corrected and amended, with New
Additions. London, 1682.
Wit and Mirth, or, Pills to Purge Melancholy, being a collection of
the best Merry Ballads and Songs, etc., [with airs]. London. [Ed. by
Henry Playford,] four editions, London, 1699-1714, 5 vols.; [ed. by T.
D’Urfey,] 6 vols. London, I-V, 1719, VI, 1720.
True Love Requited, or, The Bayliff’s Daughter of Islington. Printed
and sold in Aldermary Churchyard, Bow Lane, “1700 or a little later.”
A Collection of Old Ballads, corrected from the best and most ancient
copies extant. With introductions historical, critical, or humorous. 3
vols. London, I, II, 1723; III, 1725.
Allan Ramsay. The Ever Green, being a collection of Scots Poems, wrote
by the ingenious before 1600. 2 vols. Edinburgh, 1724.
Allan Ramsay. The Tea-Table Miscellany, or a collection of Choice
Songs, Scots and English. (Vol. I, Edinburgh, 1724; vol. II, 172-?;
vol. III, 1727. 3 vols in one, Dublin, 1729; London, 1733. 9th edition,
enlarged with a fourth volume, London, 1740. 11th edition, four volumes
in one, London, 1750. David Laing’s notes in the Musical Museum, ed.
1853, pp. 108* f., 382*, 393* f.) London, 1733, 3 vols in one; 1763, 4
vols in one.
W. Thomson. Orpheus Caledonius, or, a Collection of the best Scotch
Songs. [London, 1725.] 1 vol. fol. Orpheus Caledonius, or, a Collection
of Scots Songs. 2 vols, 8^o, London, 1733.
Gill Morrice. An Ancient Scottish Poem, 2d ed. Robert & Andrew Foulis,
1755.
Young Waters. An Ancient Scottish Poem, never before printed. Robert &
Andrew Foulis, Glasgow, 1755.
Edom of Gordon. An Ancient Scottish Poem, never before printed. Robert
& Andrew Foulis, Glasgow, 1755.
Letter of Thomas Gray, June, 1757? (Gray’s Works, ed. Gosse, II, 316.
London, 1884.)
Thomas Percy. Reliques of Ancient English Poetry: consisting of Old
Heroic Ballads, Songs, and other pieces of our Earlier Poets, together
with some few of later date. 3 vols. London, 1765, 1767, 1775. 4th ed.,
1794, ostensibly edited by Percy’s nephew, with restoration of some
original readings.
Garlands, etc., of the second half of the 18th century:
The Brown Girl’s Garland. British Museum. 11621 c. 3. (10.)
The Duke of Gordon’s Garland. British Museum. 11621 c. 2. (15.) Also,
Harvard College Library.
The Glasgow Lasses Garland. British Museum. 11621 c. 3. (68.)
The Jovial Rake’s Garland. (No 104.) Bodleian Library.
Lord Roslin’s Daughter’s Garland. (No 46.)
Lovely Jenny’s Garland. (No 91.)
Sir James the Rose’s Garland. Harvard College Library.
The Rambler’s Garland. B. M. 11621 c. 4. (57.)
A chap-book of Four New Songs and a Prophecy. 1745? (Here from The
Scots Musical Museum, 1853, IV, 458.)
The Merry Cuckold and Kind Wife. Broadside. Printed and Sold at the
Printing Office in Bow Church-Yard, London.
Five Excellent New Songs. Edinburgh, 1766. B. M. 11621. b. 6. (8.)
The Duke of Gordon’s Daughter, 1775, in a collection of folio
ballads. B. M. 1346. m. 8.
Sir James the Rose, stall-tract of about 1780. Abbotsford Library.
The Duke of Gordon’s Daughter. C. McLachlan, Dumfries, 1785 (?).
Lord Douglas Tragedy, stall-copy of 1792.
[David Herd.] The Ancient and Modern Scots Songs, Heroic Ballads, etc.,
now first collected into one body from the various Miscellanies wherein
they formerly lay dispersed, containing likewise a great number of
Original Songs from Manuscripts never before published. Edinburgh, 1769.
[David Herd.] Ancient and Modern Scottish Songs, Heroic Ballads, etc.,
collected from memory, tradition and ancient authors. The second
edition. 2 vols. Edinburgh, 1776.
John Pinkerton. Scottish Tragic Ballads. London, 1781.
John Pinkerton. Select Scotish Ballads. 2 vols. (vol. I, Tragic
Ballads; vol. II, Comic Ballads). London, 1783.
[Joseph Ritson.] A Select Collection of English Songs, with their
Original Airs, and a historical essay on the Origin and Progress
of National Song. 3 vols. London, 1783. (The second edition, with
Additional Songs, and occasional Notes. By Thomas Park. 3 vols. London,
1813.)
[Joseph Ritson.] “The Bishopric Garland, or Durham Minstrel. Being a
choice collection of Excellent Songs relating to the above county.
Stockton, 1784. A new edition, corrected, 1792.” Reprinted by J.
Haslewood in, Northern Garlands, edited by the late Joseph Ritson, Esq.
London, 1810.
[George Caw.] The Poetical Museum. Containing Songs and Poems on almost
every subject. Mostly from periodical publications. Hawick, 1784.
James Johnson. The Scots Musical Museum, in six volumes. Consisting
of Six Hundred Scots Songs, with proper Basses for the Piano Forte,
etc. Edinburgh, [1787-1803]. (Second Edition, 1839.) Third Edition,
with copious Notes and Illustrations of the Lyric Poetry and Music of
Scotland, by the late William Stenhouse, [and] with additional Notes
and Illustrations [by David Laing]. 4 vols. Edinburgh and London, 1853.
[Joseph Ritson.] Ancient Songs, from the time of King Henry the Third
to the Revolution. London, 1790. (“Printed, 1787; dated 1790; published
1792.” Second Edition. Ancient Songs and Ballads from the Reign of King
Henry the Second to the Revolution. Collected by Joseph Ritson, Esq. 2
vols. London, 1829.)
Joseph Ritson. Pieces of Ancient Popular Poetry: from authentic
manuscripts and old printed copies. London, 1791. 2d ed., London, 1833.
[Joseph Ritson.] “The Northumberland Garland, or Newcastle Nightingale.
A matchless collection of Famous Songs. Newcastle, 1793.” Reprinted by
J. Haslewood in, Northern Garlands, edited by the late Joseph Ritson,
Esq. London, 1810.
[Joseph Ritson.] Scotish Song. In two volumes. London, 1794.
[Joseph Ritson.] Robin Hood: A Collection of all the Ancient Poems,
Songs, and Ballads, now extant, relative to that celebrated English
Outlaw. To which are prefixed Historical Anecdotes of his Life. In two
volumes. London, 1795. (Second edition, London, 1832.)
[J. Currie.] The Works of Robert Burns, with an Account of his Life,
etc. 4th ed., 4 vols. London, 1803.
John Leyden. The Complaynt of Scotland, written in 1548. With a
Preliminary Dissertation and Glossary. Edinburgh, 1801.
Walter Scott. Minstrelsy of the Scottish Border: consisting of
Historical and Romantic Ballads collected in the Southern Counties of
Scotland, with a few of modern date, founded upon local tradition.
3 vols. Vols I, II, Kelso, 1802; vol. III, Edinburgh, 1803. 2d ed.,
Edinburgh, 1803; 3d, 1806; 4th, 1810. 4 vols, edited by J. G. Lockhart,
with airs. Edinburgh, 1833.
The Edinburgh Magazine, or, Literary Miscellany. Edinburgh, 1803.
The Scots Magazine, vol. LXV, 1803; vol. LXXX, 1817; vol. LXXXIX, 1822.
Edinburgh.
The Sporting Magazine, vol. XXV. London, 1805.
Robert Jamieson. Popular Ballads and Songs from Tradition, Manuscripts,
and Scarce Editions; with translations of similar pieces from the
Ancient Danish Language, and a few Originals by the Editor. 2 vols.
Edinburgh, 1806.
John Finlay. Scottish Historical and Romantic Ballads, chiefly ancient.
2 vols. Edinburgh, 1808.
R. H. Cromek. Remains of Nithsdale and Galloway Song: with Historical
and Traditional Notices relative to the manners and customs of the
Peasantry. London, 1810.
R. H. Cromek. Select Scottish Songs, Ancient and Modern; with Critical
Observations and Biographical Notices, by Robert Burns. 2 vols. London,
1810.
Gammer Gurton’s Garland, or, The Nursery Parnassus. London, 1810.
John Bell. Rhymes of Northern Bards, being a curious collection of Old
and New Songs and Poems peculiar to the counties of Newcastle upon
Tyne, Northumberland, and Durham. Edited by John Bell, Jun. Newcastle
upon Tyne, 1812.
[John Fry.] Pieces of Ancient Poetry from unpublished manuscripts and
scarce books. Bristol, 1814.
H. Weber, R. Jamieson, W. Scott. Illustrations of Northern Antiquities,
etc. Edinburgh, 1814.
Sir Egerton Brydges. Restituta, vol. I. London, 1814.
Alexander Campbell. Albyn’s Anthology, or, a select collection of the
Melodies and Local Poetry peculiar to Scotland and the Isles, hitherto
unpublished. 2 vols. 1816, 1818.
R. H. Cromek. Reliques of Robert Burns. 4th ed. London, 1817.
James Hogg. The Jacobite Relics of Scotland, being the Songs, Airs, and
Legends of the adherents to the House of Stuart. 2 vols. Edinburgh,
1819-21.
R. A. Smith. The Scotish Minstrel, a selection from the Vocal Melodies
of Scotland, ancient and modern. 6 vols. Edinburgh, [1820-24].
John Struthers. The British Minstrel, a selection of Ballads, ancient
and modern, etc. 2 vols. London, 1822.
Robert Trotter. Lowran Castle, or, The Wild Boar of Curridoo, with
other Tales, illustrative of the Superstitions, Manners, and Customs of
Galloway. Dumfries, 1822.
[Alexander Laing.] Scarce Ancient Ballads, many never before published.
Aberdeen, 1822.
Alexander Laing. The Thistle of Scotland, a selection of Ancient
Ballads, with notes. Aberdeen, 1823.
[Charles Kirkpatrick Sharpe.] A Ballad Book. Edinburgh, 1823.]
Reprinted by E. Goldsmid, Edinburgh, 1883.
Davies Gilbert. Some Ancient Christmas Carols, with the Tunes to which
they were formerly sung in the West of England. Together with two
ancient Ballads, a Dialogue, etc. 2d edition. London, 1823.
William Hone. Ancient Mysteries. London, 1823.
[James Maidment.] A North Countrie Garland. Edinburgh, 1824. Reprinted
by E. Goldsmid. Edinburgh, 1884.
The Common-Place Book of Ancient and Modern Ballad and Metrical
Legendary Tales. An original selection, including many never before
published. Edinburgh, 1824.
John Mactaggart. The Scottish Gallovidian Encyclopedia, or, the
original, antiquated, and natural Curiosities of the South of Scotland.
London, 1824.
David Webster. A Collection of curious Old Ballads and Miscellaneous
Poetry. Edinburgh, 1824.
The Gentleman’s Magazine. Vol. XCV, Part I. London, 1825.
Peter Buchan. Gleanings of Scotch, English, and Irish scarce old
Ballads chiefly tragical and historical, etc. Peterhead, 1825.
Allan Cunningham. The Songs of Scotland, ancient and modern, with an
introduction and notes, historical and critical, etc. 4 vols. London,
1825.
Stall copies, etc., mostly of uncertain date:
The Song of Bewick and Grahame. B. M. 11621. e. 1. (4.)
Bewick and Graham’s Garland. M. Angus & Son, Newcastle.
A Jolly Book of Garlands collected by John Bell in Newcastle.
Abbotsford Library.
Curious Tracts, Scotland. B. M. 1078. m. 24. A collection made by J.
Mitchell at Aberdeen in 1828.
The Unfortunate Weaver, etc. (for No 25). Greenock, [1810]. B. M.
11621. b. 7. (43.)
Stall or chap-book copies by M. Randall & C. Randall, Stirling; John
Sinclair, Dumfries; W. Fordyce, Newcastle; T. Johnston, Falkirk; P.
Buchan, Peterhead; Aberdeen, printed for the booksellers.
Recent Broadsides of Catnach, Pitts, Such.
Peggy Irvine. Stall-copy printed by J. Morren, Cowgate, Edinburgh.
Robert Chambers. The Popular Rhymes of Scotland, with illustrations,
chiefly collected from oral sources. Edinburgh, 1826, 1870.
George R. Kinloch. Ancient Scottish Ballads, recovered from tradition
and never before published, with notes, historical and explanatory, and
an appendix containing the airs of several of the ballads. London and
Edinburgh, 1827.
[George R. Kinloch.] The Ballad Book. Edinburgh, 1827. Reprinted by E.
Goldsmid. Edinburgh, 1885.
Thomas Lyle. Ancient Ballads and Songs, chiefly from tradition,
manuscripts, and scarce works, etc. London, 1827.
William Motherwell. Minstrelsy, Ancient and Modern, with an historical
introduction and notes. Glasgow, 1827. (A copy with MS. entries by
Motherwell).
Peter Buchan. Ancient Ballads and Songs of the North of Scotland,
hitherto unpublished, with explanatory notes. 2 vols. Edinburgh, 1828.
The Paisley Magazine, or, Literary and Antiquarian Miscellany. Paisley,
1828.
Robert Chambers. The Scottish Ballads, collected and illustrated.
Edinburgh, 1829.
Sir N. H. Nicolas. History of the Battle of Agincourt. 2d ed. London,
1832.
[Joseph Robertson.] The New Deeside Guide, by James Brown. Aberdeen,
[1832].
Andrew Picken. Traditionary Stories of Old Families. 2 vols. London,
1833.
William Sandys. Christmas Carols, Ancient and Modern, including the
most popular in the West of England, and the airs to which they are
sung, etc. London, 1833.
William Sandys. Christmastide, its history, festivities, and carols.
London, [18--].
Sir Cuthbert Sharpe. The Bishoprick Garland, or a collection of
Legends, Songs, Ballads, etc., belonging to the county of Durham.
London, 1834.
The Universal Songster, or, Museum of Mirth, forming the most complete,
extensive, and valuable collection of Ancient and Modern Songs in the
English language. 3 vols. London, 1834.
The Songs of England and Scotland. 2 vols. London, 1835.
Fisher’s Drawing-Room Scrap-Book. London, 1835.
[E. V. Utterson.] A Little Book of Ballads. [Printed for the Roxburghe
Club.] Newport, 1836.
J. E. Tyler. Henry of Monmouth, or, Memoirs of the Life and Character
of Henry the Fifth. 2 vols. London, 1838.
The Loving Ballad of Lord Bateman. Illustrated by George Cruikshank.
London, 1839.
Sir N. H. Nicolas. The Poetical Works of Robert Burns. Aldine Edition.
3 vols. London, 1839.
J. O. Halliwell. The Nursery Rhymes of England, collected principally
from oral tradition. London, 1842 (Vol. IV of the Percy Society
Publications). 4th ed., 1846; 5th ed., 1853.
Alexander Whitelaw. The Book of Scottish Song; collected and
illustrated with historical and critical notices, etc. (Glasgow, 1844.)
Glasgow, Edinburgh, and London, 1855.
Alexander Whitelaw. The Book of Scottish Ballads; collected and
illustrated with historical and critical notices. Glasgow, Edinburgh,
and London. [1844] 1845.
J. O. Halliwell. Nugæ Poeticæ. Select Pieces of Old English Popular
Poetry, illustrating the manners and arts of the fifteenth century.
London, 1844.
R. Chambers, Twelve Romantic Scottish Ballads, with the original airs.
Edinburgh, 1844.
[James Maidment.] A New Book of Old Ballads. Edinburgh, 1844.
T. Wright and J. O. Halliwell. Reliquiæ Antiquæ. Scraps from Ancient
Manuscripts. 2 vols. London, 1845.
The New Statistical Account of Scotland, vol. V. Edinburgh and London,
1845.
James Henry Dixon. Scottish Traditional Versions of Ancient Ballads.
(Vol. XVII of the Percy Society Publications.) London, 1845.
James Henry Dixon. Ancient Poems, Ballads, and Songs of the Peasantry
of England, taken down from oral recitation, and transcribed from
private manuscripts, rare broadsides, and scarce publications. (Vol.
XVII of the Percy Society Publications.) London, 1846.
M. A. Richardson. The Borderer’s Table Book, or, Gatherings of the
Local History and Romance of the English and Scottish Border. 8 vols.
Newcastle-upon-Tyne and London, 1846.
James Paterson and Charles Gray. The Ballads and Songs of Ayrshire,
illustrated with sketches historical, traditional, narrative, and
biographical. 2 series. Ayr, 1846, 1847.
Frederick Sheldon. The Minstrelsy of the English Border, being a
collection of Ballads, ancient, re-modelled, and original, founded on
well known Border legends. London, 1847.
John Matthew Gutch. A Lytyll Geste of Robin Hode, with other Ancient
and Modern Ballads and Songs relating to this celebrated yeoman, etc. 2
vols. London, 1847.
The Scottish Journal. Vol. II, 1848.
The Edinburgh Topographical, Traditional, and Antiquarian Magazine.
[Sept.-Dec. 1848.] Edinburgh, 1849.
J. O. Halliwell. Popular Rhymes and Nursery Tales; a sequel to the
Nursery Rhymes of England. London, 1849.
J. O. Halliwell. Ballads and Poems respecting Hugh of Lincoln. Brixton
Hill, 1849.
Abraham Hume. Sir Hugh of Lincoln, or, an examination of a curious
tradition respecting the Jews, with a notice of the Popular Poetry
connected with it. London, 1849.
Notes and Queries. London, 1850-.
Proceedings of the Society of Antiquaries of Scotland. Vol. I, 1852.
J. S. Moore. The Pictorial Book of Ancient Ballad Poetry of Great
Britain, historical, traditional, and romantic, etc. London, 1853.
John Miller. Fly-Leaves, or Scraps and Sketches, literary,
biographical, and miscellaneous. The Second Series. London, 1855.
William Chappell. Popular Music of the Olden Time. A collection of
Ancient Songs, Ballads, and Dance Tunes, illustrative of the National
Music of England, etc. 2 vols. London, [1855-59].
Jabez Allies. The British, Roman, and Saxon Antiquities and Folk-lore
of Worcestershire. 2d ed. London, “1856” [1852?].
Robert Bell. Ancient Poems, Ballads, and Songs of the Peasantry of
England, taken down from oral recitation, and transcribed from private
manuscripts, rare broadsides, and scarce publications. London, 1857.
William E. Aytoun. The Ballads of Scotland. 2 vols. Edinburgh and
London, 1858; 2d ed., revised and augmented, 1859.
James Maidment. Scotish Ballads and Songs. Edinburgh, London, and
Glasgow, 1859.
R. Chambers. The Romantic Scottish Ballads: their Epoch and Authorship.
London and Edinburgh, 1859.
Thomas Hughes. The Scouring of the White Horse. Cambridge [England],
1859.
Joshua Sylvester. A Garland of Christmas Carols, ancient and modern,
including some never before given in any collection. London, 1861.
Mary (Wilson) Gordon. Christopher North. A Memoir of John Wilson. 2
vols. Edinburgh, 1862.
William Allingham. The Ballad Book. A selection of the choicest British
Ballads. London, 1865.
Robert Hunt. Popular Romances of the West of England. First Series.
London, 1865.
M. H. Mason. Nursery Rhymes and Country Songs, both tunes and words
from tradition. London, n. d. [c. 1877].
William Henderson. Notes on the Folk-Lore of the Northern counties of
England and the Borders. With an Appendix by S. Baring-Gould. London,
1866; new ed., 1879.
Llewellyn Jewitt. The Ballads and Songs of Derbyshire, with
illustrative notes and examples of the original music, etc. London and
Derby, 1867.
John W. Hales and Frederick J. Furnivall. Bishop Percy’s Folio
Manuscript. Ballads and Romances. 3 vols and a supplement. London,
1867-68.
James Maidment. Scotish Ballads and Songs, Historical and Traditionary.
2 vols. Edinburgh, 1868.
W. H. Logan. A Pedlar’s Pack of Ballads and Songs, with illustrative
notes. Edinburgh, 1869.
Robert Chambers. Popular Rhymes of Scotland. New edition. London and
Edinburgh, [1870].
Wm. Henry Husk. Songs of the Nativity, being Christmas Carols, Ancient
and Modern, several of which appear for the first time in a collection.
London, [187-?].
Salopian Shreds and Patches. Vol. I. Shrewsbury, 1875.
Jahrbuch für Romanische u. Englische Sprache und Literatur. Vol. XV.
Leipzig, 1876.
W. Christie. Traditional Ballad Airs, arranged and harmonized, etc.,
from copies obtained in the counties of Aberdeen, Banff, and Moray,
etc. Edited, with the words for singing and with illustrative notes. 2
vols. Edinburgh, vol. I, 1876; vol. II, 1881.
Suffolk Notes and Queries, in The Ipswich Journal, 1877-78.
H. R. Bramley and J. Stainer, Christmas Carols, New and Old. London,
[187-?].
Folk-Lore Record. Vol. II. London, 1879.
Francis Hindes Groome. In Gipsy Tents. Edinburgh, 1880.
The Leisure Hour, February 14, 1880. London.
Walter W. Skeat. Specimens of English Literature, from the Ploughmans
Crede to the Shepherdes Calender, etc. 3d ed. Oxford, 1880.
A Ballad Book. By Charles Kirkpatrick Sharpe, Esq. 1823. Reprinted
with Notes and Ballads from the unpublished MSS of Charles Kirkpatrick
Sharpe, Esq., and Sir Walter Scott, Bart. Edited by the late David
Laing. Edinburgh, and London, 1880.
Aungervyle Society’s Publications. A Garland of Old Historical Ballads.
Edinburgh, 1881.
B. Harris Cowper. The Apocryphal Gospels. 5th ed. London, 1881.
J. C. Bruce and J. Stokoe. Northumbrian Minstrelsy. A collection
of the Ballads, Melodies and Small-Pipe Tunes of Northumbria.
Newcastle-upon-Tyne, 1882.
A. Nimmo. Songs and Ballads of Clydesdale. Edinburgh and Glasgow, 1882.
G. A. Sala. ‘Sir Hugh,’ in Illustrated London News, October 21, 1882.
(Repeated in Living London, 1883.)
Charlotte Sophia Burne. Shropshire Folk-Lore, a sheaf of gleanings
edited from the collections of Georgina F. Jackson. London, 1883-6.
Wm W. Newell. Games and Songs of American Children. New York, 1883.
Edmund Venables. A Walk through Lincoln Minster. Lincoln, 1885.
W. H. Long. A Dictionary of the Isle of Wight Dialect, and of
Provincialisms used,... with illustrative anecdotes and tales, etc.
London and Newport, 1886.
Transactions of The New Shakspere Society, 1880-86. London, 1886.
A. H. Bullen. Carols and Poems from the 15th century to the present
time. London, 1886.
Letters from and to Charles Kirkpatrick Sharpe, Esq. Ed. by Alexander
Allardyce. 2 vols. Edinburgh and London, 1888.
Mrs Graham R. Tomson. Ballads of the North Countrie. London, 1888.
S. Baring-Gould and H. Fleetwood Sheppard. Songs and Ballads of the
West. A collection made from the mouths of the People. 4 parts. London,
[1889(?)-91].
The Monthly Chronicle of North-Country Lore and Legend. Vol. III.
Newcastle-on-Tyne and London, 1889.
The Folk-Lore Journal. Vols VI, VII. London, 1888-9.
James Raine, Jr. A volume of English Miscellanies, illustrating the
history and language of the Northern Counties of England. Surtees
Society, No 85. Durham, 1890.
Blackwood’s Magazine. Vol. CXLVII. Edinburgh, 1890.
Margaret Warrender. Walks near Edinburgh. Edinburgh, 1890.
Longman’s Magazine. Vol. XVII. London, 1890.
Journal of the Gypsy-Lore Society. Vol. II. London, 1890-91.
Frank Kidson. Traditional Tunes. A collection of Ballad Airs, chiefly
obtained in Yorkshire and the South of Scotland, together with their
appropriate words from broadsides or from oral tradition. Oxford, 1891.
Lucy E. Broadwood and J. A. Fuller Maitland. English County Songs,
words and music. London and New York, 1893.
County Folk-Lore. Printed Extracts. No 2. Suffolk. Collected and edited
by the Lady Eveline Camilla Gurdon. Folk-Lore Society. London, 1893.
The Journal of American Folk-Lore. Vol. VII. Boston, 1894.
H. A. Kennedy. Professor Blackie: his Sayings and Doings. London, 1895.
Francis Hindes Groome. Two Suffolk Friends. Edinburgh and London, 1895.
FOOTNOTES:
[130] Mr Macmath drew up for the Edinburgh Bibliographical Society a
bibliography of Scottish Popular Ballads in Manuscript (Session 1891-2,
and a supplement, 1893-4), which may be advantageously consulted for
details, as I myself have found.
[131] Bodleian Library, Oxford.
INDEX OF PUBLISHED AIRS OF ENGLISH AND SCOTTISH POPULAR BALLADS
WITH AN APPENDIX OF SOME AIRS FROM MANUSCRIPT
The oldest book of airs here referred to is Thomson’s Orpheus
Caledonius, ed. 1733. Earlier music-books or manuscript notations were
used in great number by Chappell, Rimbault, and others, and the results
are accessible through their works as cited below. The same air will
frequently be found to have been repeated in successive publications.
Undoubtedly the cases in which the original air of the older ballads
has been preserved are but few.
Of the airs from manuscript some are very likely to have been published
already; the ascertaining of the fact would have cost considerable
labor, and was not demanded for a list which avowedly includes
repetitions from printed books. The earliest noted down are, I suppose,
the five from the Abbotsford MS. entitled “Scottish Songs,” which
appear to have been derived from William Tytler’s unrecovered Brown MS.
This lost MS. was obtained by William Tytler in 1783, and contained
fifteen ballads with the melodies as written down by Professor Scott
from Mrs Brown’s singing; of which melodies it is said: “Being then but
a mere novice in music, he added in the copy such musical notes as he
supposed might give some notion of the air, or rather lilts, to which
they were sung.” Twenty-three airs are given from the Harris Ballad-MS.
as sung by Mrs Amelia Harris to her children about 1830. Miss Jane
Harris, one of them, says that the airs are to be “orally and directly
traced from my great father’s (Rev. P. Duncan, Tibbermore) manse from
1745.” Six airs are from a MS. of Charles Kirkpatrick Sharpe written
on paper with a watermark of 1822. The remaining airs are very recent
communications from various duly registered sources, and were all but a
very few seemingly written down within a year or two.
The compilation of the list of printed airs was undertaken for me by
my constant friend Mr William Walker, of Aberdeen. Some additions have
been made. Mr Walker also furnished me with several melodies from the
north of Scotland. Revision of the manuscript airs was required in some
cases to correct obvious errors of notation, and this was performed for
me by Mr W. R. Spalding, of Harvard College, who has not gone beyond
the amendment of self-evident errors of transcribers.
ABBREVIATED INDICATIONS OF BOOKS REFERRED TO
_Baring-Gould._ S. Baring-Gould, English Minstrelsie. Edinburgh, 1895-.
8 vols (7 published.)
_Baring-Gould, S._ Baring-Gould and Sheppard, Songs and Ballads of the
West. London, [1889-91]. Four parts.
_Barsanti._ Francis Barsanti, A Collection of Old Scots Tunes.
Edinburgh, [1742?].
_Bramley._ H. R. Bramley and J. Stainer, Christmas Carols, New and Old.
London, [187-?].
_Broadwood._ L. E. Broadwood and J. A. F. Maitland, English County
Songs. London, 1893.
_Bruce._ J. C. Bruce and J. Stokoe, Northumbrian Minstrelsy.
Newcastle-upon-Tyne, 1882.
_Burne._ Charlotte Sophia Burne, Shropshire Folk-Lore. London, 1883-6.
_Campbell._ Alexander Campbell, Albyn’s Anthology. Edinburgh, 1816,
1818. 2 vols.
_Chambers._ Robert Chambers, Twelve Romantic Scottish Ballads.
Edinburgh, 1844.
_Chappell._ W. Chappell, Popular Music of the Olden Time. London,
[1855, 1859]. 2 vols.
_Christie._ W. Christie, Traditional Ballad Airs. Edinburgh, 1876,
1881. 2 vols.
_Cruikshank._ The Loving Ballad of Lord Bateman. London, 1839.
_Dauney._ Wm. Dauney, Ancient Scottish Melodies, from a Manuscript of
the reign of King James VI. Edinburgh, 1838.
_Gilbert._ Davies Gilbert, Some Ancient Christmas Carols, with the
tunes. London, 1823.
_Gordon._ Mrs. Gordon, Christopher North, A Memoir of John Wilson.
Edinburgh, 1862. 2 vols.
_Graham._ G. F. Graham, The Songs of Scotland. Edinburgh, [1854-56]. 3
vols.
_Husk._ Wm. Henry Husk, Songs of the Nativity. London, [187-?].
_Jewitt._ Llewellyn Jewitt, The Ballads and Songs of Derbyshire. London
and Derby, 1867.
_Johnson._ James Johnson, The Scots Musical Museum. Edinburgh and
London, [1787-1803]. 6 vols.
_Journal._ Journal of American Folk-Lore. Vol. VIII. Boston and New
York, 1895.
_Kidson._ Frank Kidson, Traditional Tunes. Oxford, 1891.
_Kinloch._ G. R. Kinloch, Ancient Scottish Ballads, Appendix. London
and Edinburgh, 1827.
_Mason._ M. H. Mason, Nursery Rhymes and Country Songs. London, n. d.
[1877].
_Motherwell._ Wm. Motherwell, Minstrelsy Ancient and Modern, Appendix.
Glasgow, 1827.
_Rimbault._ Edward F. Rimbault, Musical Illustrations of Bishop Percy’s
Reliques of Ancient English Poetry. London, 1850.
_Rimbault, C._ E. F. Rimbault. (Chappell’s Christmas Carols.) A
Collection of Old Christmas Carols with the tunes to which they are
sung. London, n. d.
_Rimbault, G._ E. F. Rimbault, Musical Illustrations of the Robin Hood
Ballads, in J. M. Gutch’s Robin Hood Garlands and Ballads. London,
1850. 2 vols, the second.
_Ritson, A._ [Joseph Ritson,] Ancient Songs. London, 1790.
_Ritson, E._ [Joseph Ritson,] A Select Collection of English Songs.
London, 1783. 3 vols. Cited by pages of 2d ed., 1813.
_Ritson, S._ [Joseph Ritson,] Scotish Song. London, 1794. 2 vols.
_Sandys, C. C._ W. Sandys, Christmas Carols, Ancient and Modern.
London, 1833.
_Sandys, C. T._ W. Sandys, Christmastide, its history, festivals, and
carols. London, [18--?].
_Scott._ Walter Scott, Minstrelsy of the Scottish Border. Edinburgh,
1833. 4 vols.
_Smith, R._ R. A. Smith, The Scotish Minstrel. Edinburgh, [1820-24]. 6
vols.
_Smith, S._ J. Stafford Smith, Musica Antiqua: a Collection of Music
from the 12th till the 18th Century. London, 1812. 2 vols.
_Sussex._ Sussex Songs, arranged by H. F. Birch Reynardson. London,
[1891?].
_Thomson, G._ George Thomson, The Select Melodies of Scotland, etc.
[1793-1841. 6 vols. fol.] London, [1822-25]. 6 vols. 8vo.
_Thomson, W._ W. Thomson, Orpheus Caledonius, or, A Collection of Scots
Songs. 2d ed. London, 1733. 2 vols.
INDEX
[The figures in the left-hand column refer to the numbers of the
ballads in this collection.]
1. Riddles Wisely Expounded.
Gilbert, 65 (=B=);
Chappell, 531 (=A=);
Mason, 31 (=E=);
Bruce, 76 (=A=).
2. The Elfin Knight.
Bruce, 79;
Kidson, 43, 172;
Broadwood, 12.
3. The Fause Knight upon the Road.
Motherwell, No 32 (=B=).
4. Lady Isabel and the Elf-Knight.
Smith, R., III, 92 (=C= =b=);
Motherwell, No 24 (=D= =c=);
Christie, II, 236 (=D=);
Bruce, 48 (=E=);
Burne, 652;
Kidson, 27 (=E=), 172;
Broadwood, 164 (=E=).
5. Gil Brenton.
Motherwell, No 5 (=F= =b=);
Christie, II, 10 (=D=).
7. Earl Brand.
Scott, III, 1 (=B=);
Smith, R., III, 86 (=B=);
Chambers, 17 (=B=);
Bruce, 31 (=A=).
9. The Fair Flower of Northumberland.
Motherwell, No 2 (=D=);
Kinloch, to p. 131 (=B= =b=);
Christie, II, 46 (=C=);
Bruce, 51 (=A=).
10. The Twa Sisters.
Motherwell, No 20 (=F= =b=);
Christie, I, 40 (=C=, =B=), 42 (=O=);
Bruce, 61 (=C=);
Broadwood, 118 (=R= =c=).
11. The Cruel Brother.
Gilbert, 68 (=F=);
Christie, I, 108 (=A=).
12. Lord Randal.
Johnson, No 327 (=F=);
Campbell, II, 95 (=D=);
Smith, R., III, 58 (=D=);
Chambers, 21 (=D=);
Graham, II, 74.
14. Babylon, or, the Bonnie Banks o Fordie.
Motherwell, No 26 (=A= =c=);
Kinloch, to p. 210 (=E=).
16. Sheath and Knife.
Johnson, No 461 (=C=).
17. Hind Horn.
Motherwell, No 13 (=B=);
Christie, II, 252.
18. Sir Lionel.
Christie, I, 110 (=B=).
20. The Cruel Mother.
Johnson, No 320 (=B=);
Smith, R., IV, 33 (=L=);
Kinloch, to p. 44 (=D=);
Christie, I, 104 (=F=);
I, 106 (=I=);
Burne, 651 (=Q=).
25. Willie’s Lyke-Wake.
Motherwell, No 17 (=D=);
Christie, I, 120 (=B=), 122 (=E=).
26. The Three Ravens.
Ritson, A., 155 (=a=);
Motherwell, No 12 (=b=);
Chappell, 59;
Kidson, 17.
[The Twa Corbies.
Campbell, II, 26;
Chambers, 15.]
27. The Whummil Bore.
Motherwell, No 3 (=b=).
33. Kempy Kay.
Motherwell, No 33 (=C=).
37. Thomas Rymer.
Scott, IV, 117 (=C=).
38. The Wee Wee Man.
Ritson, S., II, 139 (=A=);
Johnson, No 370 (=A=);
Smith, R., IV, 70 (=A=);
Graham, III, 64.
39. Tam Lin.
Johnson, No 411 (=A=);
Smith, R., I, 2.
41. Hind Etin.
Christie, II, 156 (=A=).
43. The Broomfield Hill.
Kinloch, to p. 195 (=D=).
45. King John and the Abbot of Canterbury.
Rimbault, 73;
Chappell, 350 (=B=), 352 (=B=).
46. Captain Wedderburn’s Courtship.
Christie, II, 48 (=B=, =A=).
47. Proud Lady Margaret.
Christie, I, 28 (=B= =a=).
52. The King’s Dochter Lady Jean.
Motherwell, No 23 (=A= =b=);
Christie, I, 228 (=C=).
53. Young Beichan.
Kinloch, to p. 260 (=H=);
Cruikshank (=L=);
Christie, I, 30 (=H=);
Bruce, 64;
Burne, 651 (=L=);
Kidson, 33 (=L=);
Sussex, 43.
54. The Cherry-tree Carol.
Sandys, C. C., No 10 (=A= =a=);
Rimbault, C., 22 (=B=);
Husk, 194 (=B= =a=);
Bramley, 60 (=C=).
56. Dives and Lazarus.
Bramley, 84;
Broadwood, 102.
58. Sir Patrick Spens.
Johnson, No 482 (=A=);
Campbell, II, 62, 2 airs;
Smith, R., IV, 60 (=A= =a=);
Rimbault, 47 (=A=);
Christie, I, 6 (=H=, =I=), 8.
61. Sir Cawline.
Christie, II, 18 (King Malcolm and Sir Colvin, No 61, II, 62).
64. Fair Janet.
Graham, I, 92 (=A=).
65. Lady Maisry.
Motherwell, No 14 (=I= =a=).
68. Young Hunting.
Motherwell, No 8 (=F= =b=), No 11;
Kinloch, to p. 1 (=B=);
Chambers, 9.
69. Clerk Saunders.
Motherwell, No 16 (=A=);
Kinloch, to p. 233 (=C=);
Christie, II, 112 (=G=).
72. The Clerk’s Twa Sons o Owsenford.
Chambers, 7;
Christie, I, 212.
73. Lord Thomas and Fair Annet.
Johnson, No 535 (=A=);
Smith, R., VI, 58 (=A=);
Sandys, C. C., No 18 (=D=);
Rimbault, 94 (=D=), 112 (=A=);
Chappell, 145 (=D=);
Christie, II, 26 (=A=), 196 (=E=);
Burne, 651 (=D=);
Kidson, 40 (=D=).
74. Fair Margaret and Sweet William.
Chappell, 383 (=A= =d=).
76. The Lass of Roch Royal.
Johnson, No 5 (=I=);
Graham, I, 54.
77. Sweet William’s Ghost.
Ritson, S., II, 201 (=A=);
Johnson, No 363 (=A=);
Chambers, 11 (=A=);
Rimbault, 98 (=A=);
Christie, I, 118 (=A=).
78. The Unquiet Grave.
Burne, 651 (=F=);
Baring-Gould, S., I, 12.
79. The Wife of Usher’s Well.
Scott, III, 262 (=A=).
81. Little Musgrave and Lady Barnard.
Motherwell, No 21 (M);
Rimbault, 92;
Chappell, 170 (=A=).
88. Child Maurice.
Ritson, S., II, 157 (=F= =a=);
Johnson, No 203 (=F= =a=);
Smith, R., II, 106 (=F= =a=);
Thomson, G., V, 33;
Motherwell, No 6 (=C=);
Rimbault, 96 (=F= =a=);
Christie, I, 158 (=F=).
84. Bonny Barbara Allan.
Ritson, S., II, 196 (=A= =a=);
Johnson, No 221 (=A= =a=);
Thomson, G., III, 35 (=A= =a=);
Smith, R., II, 80 (=A= =a=);
Rimbault, 98 (=B=), 99 (=A= =a=);
Chappell, 538 (=B= =d=);
Graham, II, 16 (=A=);
Christie, I, 86, 88 (=A=), 283;
Kidson, 37, 38 (three airs).
85. Lady Alice.
Mason, 46 (=C=).
88. Young Johnstone.
Motherwell, No 18 (=F=);
Chambers, 19;
Christie, I, 156 (=E=).
89. Fause Foodrage.
Christie, I, 172 (=A=).
93. Lamkin.
Smith, R., II, 94 (=P=);
Christie, I, 60 (=A=).
94. Young Waters.
Smith, R., II, 30.
95. The Maid Freed from the Gallows.
Broadwood, 112 (=K=).
96. The Gay Goshawk.
Christie, II, 124.
97. Brown Robin.
Christie, I, 136 (=B=).
99. Johnie Scot.
Motherwell, No 15 (=E=).
100. Willie o Winsbury.
Kinloch, to p. 89 (=H=).
101. Willie o Douglas Dale.
Christie, II, 32.
102. Willie and Earl Richard’s Daughter.
Christie, I, 128.
103. Rose the Red and White Lily.
Kinloch, to p. 65 (=C=).
105. The Bailiff’s Daughter of Islington.
Rimbault, 100 (two airs);
Chappell, 203-4 (two airs);
Sussex, 10;
Baring-Gould, I, 50.
106. The Famous Flower of Serving-Men.
Thomson, G., IV, 39;
Smith, R., V, 73;
Rimbault, 95.
110. The Knight and Shepherd’s Daughter.
Kinloch, to p. 25 (=H=);
Rimbault, 94 (=A=);
Chappell, 127 (=A=);
Christie, I,184 (=F= =b=);
Kidson, 20.
112. The Baffled Knight.
Ritson, A., 160;
Johnson, No 477 (=D= =a=);
Rimbault, 81 (=C=);
Chappell, 63 (=A= =a=), 520 (=C=);
Bruce, 81 (=D=, see IV, 495).
114. Johnie Cock.
Motherwell, No 22 (=F=);
Chambers, 13.
116. Adam Bel, Clim of the Clough and William of Cloudesly.
Rimbault, 48.
118. Robin Hood and Guy of Gisborne.
Chappell, 397 (?).
119. Robin Hood and the Monk.
Chappell, 542 (?).
120. Robin Hood’s Death.
Rimbault, G., 435 (=B=).
122. Robin Hood and the Butcher.
Rimbault, G., 433 f.;
Chappell, 392.
123. Robin Hood and the Curtal Friar.
Rimbault, G., 436;
Chappell, 393 (=B=), 542 (?).
124. The Jolly Pinder of Wakefield.
Chappell, 203 (?), 394 (=A=).
125. Robin Hood and Little John.
Rimbault, G., 433 f.;
Chappell, 392.
126. Robin Hood and the Tanner.
Rimbault, G., 433 f.;
Chappell, 392.
(Air also of 122, 125, 128, 131, 133, 142 =B=, 143, 146, 150.)
128. Robin Hood Newly Revived.
Rimbault, G., 433 f.
(Air also of Nos 122, 125, 126, 131, 133, 142 =B=, 143, 146, 150.)
Chappell, 392.
131. Robin Hood and the Ranger.
Rimbault, G., 433 f.;
Chappell, 392.
132. The Bold Pedlar and Robin Hood.
Jewitt, 3.
133. Robin Hood and the Beggar, I.
Rimbault, G., 433 f.;
Chappell, 392.
135. Robin Hood and the Shepherd.
Rimbault, G., 435.
136. Robin Hood’s Delight.
Rimbault, G., 435.
138. Robin Hood and Allan a Dale.
Rimbault, G., 439.
140. Robin Hood Rescuing Three Squires.
Rimbault, G., 438 (=B=).
141. Robin Hood rescuing Will Stutly.
Rimbault, G., 435.
142. Little John a Begging.
Rimbault, G., 433 f. (=B=);
Chappell, 392.
143. Robin Hood and the Bishop.
Rimbault, G., 433 f.;
Chappell, 392.
144. Robin Hood and the Bishop of Hereford.
Chappell, 395 (=A=).
145. Robin Hood and Queen Katherine.
Rimbault, G., 435.
146. Robin Hood’s Chase.
Rimbault, G., 433 f.;
Chappell, 392.
148. The Noble Fisherman, or, Robin Hood’s Preferment.
Rimbault, G., 436;
Chappell, 393 (?).
150. Robin Hood and Maid Marian.
Rimbault, G., 433 f.;
Chappell, 392.
155. Sir Hugh, or, The Jew’s Daughter.
Smith, S., I, 65;
Johnson, No 582 (=B=);
Motherwell, No 7 (=R=);
Rimbault, 46 (=B=);
Mason, 46 (=T=).
156. Queen Eleanor’s Confession.
Motherwell, No 27 (=F=);
Rimbault, 65 (=F=);
Chappell, 174 (=A=).
157. Gude Wallace.
Johnson, No 484 (=C=).
161. The Battle of Otterburn.
Scott, I, 368 (=C=);
Rimbault, 45 (=C=).
162. The Hunting of the Cheviot: Chevy Chase.
Ritson, E., III, 315;
Rimbault, 56;
Chappell, (see 196), 198, 199, 201;
Bruce, 2, 3, 145;
Kidson, 19.
164. King Henry Fifth’s Conquest of France.
Jewitt, 2, 3.
169. Johnie Armstrong.
Ritson, S., II, 7 (=C=);
Johnson, No 356 (=C=);
Scott, I, 416 (=C=);
Dauney, 222.
170. The Death of Queen Jane.
Kinloch, to p. 116 (=B=).
178. Captain Car, or, Edom o Gordon.
Chappell, 226 (=A=);
Christie, I, 56.
181. The Bonny Earl of Murray.
Thomson, W., II, No 4 (=A=);
Barsanti, 14;
Ritson, S., II, 29 (=A=);
Johnson, No 177 (=A=);
Smith, R., IV, 100 (=A=);
Rimbault, 68 (=A=);
Christie, I, 202 (=A=).
182. The Laird o Logie.
Motherwell, No 25 (=A=);
Christie, II, 170 (=B=).
185. Dick o the Cow.
Campbell, II, 30 (=c=);
Scott, II, 62.
186. Kinmont Willie.
Campbell, I, 78.
187. Jock o the Side.
Campbell, II, 28 (=B= =b=);
Chambers, 22 (=B=);
Bruce, 37 (=B=).
188. Archie o Cawfield.
Christie, I, 98 (=C=);
Journal, VIII, 256 (=F=).
191. Hughie Grame.
Johnson, No 303 (=B=);
Smith, R., IV, 29 (=B=);
Chambers, 24 (=B=);
Graham, II, 44(?);
Christie, II, 82 (=B=);
Bruce, 34 (=C=).
192. The Lochmaben Harper.
Johnson, No 579 (=A= =b=).
193. The Death of Parcy Reed.
Bruce, 42 (=B=).
195. Lord Maxwell’s Last Goodnight.
Scott, II, 140 (=B=).
196. The Fire of Frendraught.
Dauney, 218, No 4 (?);
Christie, I, 58.
199. The Bonnie House o Airlie.
Smith, R., II, 2 (=A=);
Thomson, G., I, 34;
Kinloch, to p. 100 (=D=);
Graham, II, 130 (=A= =b=);
Christie, II, 276 (=C= =d=).
200. The Gypsy Laddie.
Barsanti, 6;
Ritson, S., II, 176 (=A=);
Johnson, No 181 (=A=);
Smith, R., III, 90;
Thomson, G., IV, 35 (=A=);
Dauney, 228, No 30;
Graham, I, 114;
Burne, 652 (=H=);
Baring-Gould, S., II, 52, 54.
201. Bessy Bell and Mary Gray.
Thomson, W., I, No 2;
Thomson, G., VI, 41;
Smith, R., IV, 21;
Graham, II, 96.
203. The Baron of Brackley.
Christie, I, 20 (=C= =b=).
204. Jamie Douglas (“O waly, waly”).
Motherwell, No 9 (=O=);
Christie, II, 158;
Thomson, W., I, No 34;
Johnson, Nos 158, 446;
Ritson, S., I, 156;
Graham, I, 100;
Rimbault, 102;
Smith, R., II, 1, VI, 62;
Thomson, G., I, 19.
206. Bothwell Bridge.
Smith, R., III, 62;
Scott, II, 246;
Chambers, 26.
208. Lord Derwentwater.
Motherwell, No 4 (=A=).
209. Geordie.
Johnson, No 346 (=A=);
Smith, R., II, 68 (=A=);
Kinloch, to p. 187 (=E= =b=);
Christie, I, 52 (=J=), H, 44 (=H=);
Kidson, 25.
210. Bonnie James Campbell.
Smith, R., V, 42 (=C=).
211. Bewick and Graham.
Bruce, 25.
212. The Duke of Athole’s Nurse.
Christie, I, 80 (=F= =b=).
213. Sir James the Rose.
Christie, I, 16.
214. The Braes o Yarrow.
Scott, III, 150 (=E= =b=);
Kidson, 22 (=Q=).
215. Rare Willie Drowned in Yarrow.
Thomson, W., II, No 49 (=A=);
Ritson, S., I, 142 (=A=);
Johnson, No 525 (=A=);
Smith, R., VI, 76 (=A=);
Christie, I, 64, 66 (=E=).
216. The Mother’s Malison, or, Clyde’s Water.
Christie, II, 250 (=C=).
217. The Broom of Cowdenknows.
Thomson, W., I, No 10;
Barsanti, 13;
Ritson, S., I, 118;
Smith, R., II, 45;
Thomson, G., III, 32;
Motherwell, No 10 (=D=);
Christie, I, 126, 284;
Chappell, 461.
218. The False Lover won Back.
Christie, I, 144 (=B=).
219. The Gardener.
Kinloch, to p. 74 (=A=);
Christie, II, 206 (=B=);
Baring-Gould, S., IV, 52, No 108.
221. Katherine Jaffray.
Christie, II, 16.
225. Rob Roy.
Smith, R., I, 32 (=G=).
226. Lizie Lindsay.
Johnson, No. 434;
Smith, R., II, 100, 101;
Graham, H, 82;
Christie, II, 88;
privately printed, Brighton, 1895 (=H=).
227. Bonny Lizie Baillie.
Johnson, No 456 (=d=);
Smith, R., IV, 90 (=f=).
228. Glasgow Peggie.
Christie, I, 70 (=E=).
229. Earl Crawford.
Christie, I, 68 (=A=).
231. The Earl of Errol.
Christie, I, 206;
II, 40.
232. Richie Story.
Christie, I, 72 (=G= =d=).
233. Andrew Lammie.
Motherwell, No 28 (=C= =b=);
Christie, I, 48 (=C=).
235. The Earl of Aboyne.
Christie, I, 22 (=B= =a=).
236. The Laird o Drum.
Kinloch, to p. 199 (=A= =b=);
Christie, I, 24.
237. The Duke of Gordon’s Daughters.
Johnson, No 419 (=a=);
Smith, R., IV, 98 (=a=);
Christie, I, 2.
238. Glenlogie, or, Jean o Bethelnie.
Smith, R., IV, 78 (=I= =b=);
Christie, I, 54 (=E= =b=), 282.
239. Lord Saltoun and Auchanachie.
Christie, I, 10 (=B= =b=).
240. The Rantin Laddie.
Johnson, No 462 (=A= =a=);
Smith, R., IV, 6 (=A=);
Christie, I, 210 (=A= =b=).
241. The Baron o Leys.
Johnson, No 237 (The Linkin Ladie).
243. James Harris (The Dæmon Lover).
Motherwell, No 1 (=F=);
Christie, I, 138.
245. Young Allan.
Christie, I, 252.
247. Lady Elspat.
Christie, I, 102.
248. The Grey Cock, or, Saw you my Father?
Johnson, No 76;
Smith, R., VI, 54 (=a=);
Chappell, 731 (=b=);
Graham, I, 102 (=a=).
250. Henry Martyn.
Kidson, 30 (=B= =c=), 31 (=B= =b=);
Baring-Gould, S., III, 2.
251. Lang Johnny More.
Christie, I, 44.
252. The Kitchie Boy.
Christie, I, 14.
253. Thomas o Yonderdale.
Christie, I, 96 (=b=).
254. Lord William, or, Lord Lundy.
Motherwell, No 19 (=A=).
255. Willie’s Fatal Visit.
Christie, I, 218.
257. Burd Isabel and Earl Patrick.
Christie, II, 34 (=B=).
260. Lord Thomas and Lady Margaret.
Christie, II, 12 (=B=).
265. The Knight’s Ghost.
Christie, II, 238.
266. John Thomson and the Turk.
Christie, II, 52.
267. The Heir of Linne.
Christie, I, 112 (=B= =c=).
269. Lady Diamond.
Christie, II, 218.
270. The Earl of Mar’s Daughter.
Christie, II, 38.
271. The Lord of Lorn and the False Steward.
Chappell, 230 (=B=).
273. King Edward the Fourth and a Tanner of Tamworth.
Chappell, 392(?), 542(?).
274. Our Goodman.
Johnson, No 454 (=A=);
Smith, R., IV, 66 (=A=).
275. Get up and Bar the Door.
Ritson, S., I, 226 (=A= =a=);
Johnson, Nos 300 (=A= =a=), 365 (=C=);
Smith, R., I, 62 (=A=);
Thomson, G., II, 8;
Graham, II, 62 (=A= =a=);
Christie, II, 262 (=A= =a=).
276. The Friar in the Well.
Chappell, 274 (=A=).
279. The Jolly Beggar.
Thomson, W., I, 95, App. No 43;
Ritson, S., I, 168;
Johnson, No 266 (=B= =a=).
280. The Beggar Laddie.
Christie, I, 100 (=D=).
281. The Keach i the Creel.
Motherwell, No 29;
Bruce, 82 (=A=).
282. Jock the Leg and the Merry Merchant.
Christie, I, 130.
283. The Crafty Farmer.
Chappell, 554 (=c=);
Mason, 43 (=f=);
Kidson, 141 (=b=);
Baring-Gould, S., I, 38 (=c=).
284. John Dory.
Ritson, A., 164;
Chappell, 68.
286. The Sweet Trinity (The Golden Vanity).
Gordon, II, 317 (=B= =a=);
Christie, I, 238 (=C= =c=);
Baring-Gould, S., III, 24 (=C= =d=);
Broadwood, 182 (=C=).
289. The Mermaid.
Motherwell, No 30 (=E= =b=);
Chappell, 743 (=B=).
293. John of Hazelgreen.
Kinloch, to p. 206 (=B=);
Christie, I, 124.
298. Young Peggy.
Christie, II, 20.
299. Trooper and Maid.
Christie, II, 210 (=A=).
BALLAD AIRS FROM MANUSCRIPT
3 C. THE FAUSE KNIGHT UPON THE ROAD.
Miss M. Macmath.
[Music]
“Oh where are ye gaun,” says the fause knight up- on the road.
“I’m gaun to the schule,” says the wee boy; and still he stood.
9 G. THE FAIR FLOWER OF NORTHUMBERLAND.
Sharpe MS.
[Music]
10 Bc. THE TWA SISTERS.
Abbotsford MS. “Scottish Songs.”
[Music]
There was twa sis-ters in a bour, Ed-in-bor-ough, Ed-in-borough; There
was twa sis-ters in ae bour, Stir-ling for ay. There was
twa sis-ters in ae bour, There came a . . knight to
be their wooer, Bon-ny St. John-ston stands up-on Tay.
10 W. THE TWA SISTERS.
T. Lugten, Kelso.
[Music]
There were three la-dies play-ing at the ba,
Nor-ham, down by Nor-ham, And oot cam a knight to
view them a,’ By the bon-nie mill-dams o Nor-ham.]
10. THE TWA SISTERS.
Mrs Harris and others.
[Music]
11 C. THE CRUEL BROTHER.
Harris MS.
[Music]
12 D. Lord Randal.
Received from J. F. Campbell (of Islay). “Transcribed by G. E.
Johnstone.”
[Music]
Oh, where hae ye been, Lord
I hae been to the wild wood, mith-er
For I’m
12 P. LORD RANDAL.
Miss M. Macmath.
[Music]
Whare hae ye been a’ day. Lord Ran-dal, my son? Whare
hae ye been a’ day, my hand-some young one? I’ve been
in the wood hunt-ing, Mother, make my bed soon, For I’m
wea-ry, wea-ry hunt-ing and fain would lie down.
17 I. HIND HORN.
Miss M. Macmath.
[Music]
She gave him a gay gold ring, hey lil-le-lu and how lo lan, and
he gave her a far bet-ter thing, Wi my hey down and a he did-dle down-ie.
20 Ja. THE CRUEL MOTHER.
Mrs Harris and others.
[Music]
40. THE QUEEN OF ELFAN’S NOURICE.
W. Walker, Aberdeen.[132]
[Music]
42. CLERK COLVILL.
Abbotsford MS. “Scottish Songs.”[133]
[Music]
42. CLERK COLVILL. (Revised.)
[Music]
Clerk Col-vill and his la-dye gay
46 Be. CAPTAIN WEDDERBURN’S COURTSHIP.
Mrs Harris.
[Music]
47 D. PROUD LADY MARGARET.
Harris MS.
[Music]
53. YOUNG BEICHAN.
Mrs Harris.
[Music]
58 J. SIR PATRICK SPENS.
Mrs Harris.
[Music]
61. SIR COLIN.
Mrs Harris.
[Music]
63 E. CHILD WATERS.
Mrs Harris.
[Music]
68 C. YOUNG HUNTING.
Mrs Harris.
[Music]
75. LORD LOVEL.
_As sung in Aberdeen above forty years ago._
W. Walker.
[Music]
speed, . And wished Lord Lov-el much speed.]
77. SWEET WILLIAM’S GHOST.
Mrs Harris.
[Music]
84 A. BONNY BARBARA ALLAN.
Mrs Harris.
[Music]
89 C. FAUSE FOODRAGE.
Harris MS.
[Music]
95 L. THE MAID FREED FROM THE GALLOWS.
Miss E. M. Backus, North Carolina.
[Music]
97 Ab. BROWN ROBIN.
Abbotsford MS. “Scottish Songs.”
[Music]
98 B. BROWN ADAM.
Mrs Harris.
[Music]
99 A. JOHNIE SCOT.
Abbotsford MS., “Scottish Songs.”
[Music]
99 O. JOHNIE SCOT.
Miss M. Macmath.
[Music]
Out then spak his auld fai-ther, And a blythe auld man was he, sayin, “I’ll
send five hun-ner o my brisk young men, To bear John-ie com-pa-nie.”
100 J. WILLIE O WINSBURY
Miss M. Macmath.
[Music]
There was a lass in the north countie, And her cloth-ing it was the
green; And she’s looked ower her fa-thr’s cas-tle wa’, For to
see her fa-ther’s ships sail in, For to see her fa-ther’s ships on sea.
106. THE FAMOUS FLOWER OF SERVING-MEN.
Mrs Harris.
[Music]
114 G. JOHNIE COCK.
Mrs Harris.
[Music]
157 I. GUDE WALLACE.
Sharpe MS.
[Music]
161 (V, 243). THE BATTLE OF OTTERBURN.
Sharpe MS.
It was a-bout the Lam-mes time When moor-land men do win their hay,
Brave Earl Doug-lass in ar-mer bright, Marchd to the Bor-der with-out de-lay.
[Music]
163. THE BATTLE OF HARLAW.
W. Walker, “from a residenter in the Garioch.”
[Music]
164. KING HENRY FIFTH’S CONQUEST OF FRANCE.
Mrs Harris.
[Music]
164 (V, 245). KING HENRY FIFTH’S CONQUEST OF FRANCE.
Sharpe MS.
[Music]
169 C. JOHNIE ARMSTRONG.
Sharpe MS.
[Music]
169. JOHNIE ARMSTRONG.
Mrs Harris.
[Music]
173 J. MARY HAMILTON.
Mrs Harris.
[Music]
182 D. THE LAIRD O LOGIE.
Mrs Harris.
[Music]
222 (V, 261). BONNY BABY LIVINGSTON.
Sharpe MS.
Bon-ny An-ny Liv-ie-ston Went out to see the play,
By came the Laird of Glen-lion And took her quite a-way.
[Music]
226 H. LIZIE LINDSAY.
_As sung by George Mitchell, Edgell Castle, Forfarshire._
W. Walker.
[Music]
228 C. GLASGOW PEGGIE.
Miss M. Macmath.
It was on a day, and a fine sum-mer’s day, When the
Low-lands they were mak-ing read-y, There I es-pied a
weel far’d lass; She was gaun to Glas-gow, and they ca’ her Peggy.
[Music]
235 E. THE EARL OF ABOYNE.
Mrs Harris.
[Music]
247 b. LADY ELSPAT.
Abbotsford MS., “Scottish Songs.”
[Music]
247 b. LADY ELSPAT. (Revised.)
How brent is . . your brow, my la-dy Els-pat; How . . gold-
en yel-low is your hair! Of a’ the . . maids in . . fair . . . .
Scot-land There . . is . . none like . . la-dy Els-pat fair.]
[Music]
250 E (V, 302). ANDREW BARTIN.
Miss L. P. Haskell, South Carolina.
Three bold bro’s of mer-rie Scot-land, And three bold broth-ers were
they, And they cast lots, the one with the oth-er, t’see
Who should go rob-bing all oer the salt sea, And they cast lots, the
one with the oth-er, t’see Who sh’d go rob-bing all oer the salt sea.
[Music]
256 A. ALISON AND WILLIE.
Mrs Harris.
[Music]
258 B. BROUGHTY WA’S.
Mrs Harris.
[Music]
278 B. THE FARMER’S CURST WIFE.
Miss M. Macmath.
The auld Deil cam to the man at the pleugh, Rum-chy ae de aid-ie, saying, “I
wish ye gude luck at the mak-ing o yer sheugh.” Mushy toor-in an ant tan air-a.
[Music]
281. THE KEACH I THE CREEL.
W. Walker, Aberdeen.
[Music]
286 Ba. THE SWEET TRINITY. (The Golden Vanity.)
Macmath MS.
From a copy in the handwriting of P. S. Fraser (slightly corrected).
[Music]
286 Cg. THE SWEET TRINITY. (The Golden Vanity.)
Miss M. Macmath.
There was a ship of the North Coun-trie, And the name of the ship was
the Gold-en Trin-i-tie; She was sail-ing in the Low-lands
low, low, low, She was sail-ing in the Low-Lands low.]
[Music]
299 D (V, 306). TROOPER AND MAID.
Macmath MS.
The troop-er lad cam to oor gate, And oh, but he was wea-ry; He
rap-ped at and chap-ped at, Syne called for his kind dear-y.
[Music]
FOOTNOTES:
[132] “Perhaps an improvised adaptation of a pibroch tune.”
[133] Also noted in Glenriddell’s hand in the fly-leaf at the end of
Vol. I of his copy of Herd, 1776, in the Signet Library.
W. Macmath.
INDEX OF BALLAD TITLES
English and Scottish.
The Abashed Knight, II, 480.
Abduction of Nelly Symon, V, 264.
Adam Bell, Clim of the Clough, and William of Cloudesly (No 116),
III, 14-39, 518; IV, 496; V, 297.
III, 90, 95, 96, 121 n., 334; IV, 391, 516 n.
Adambel, Clym of the cloughe, and Wyllyam of cloudesle, III, 14.
Adam Bell, Clim of the Clough, and William of Cloudesle, III, 14.
Adam Bell, Clime of the Cloug[he], and William off Cloudeslee, III,
14.
Adam Bell, The Second Part of, III, 34-39.
III, 214.
Airlie (==The Earl of Errol), V, 268.
Alison and Willie (No 256), IV, 416 f.
Allan Water, or, A Lover in Captivity, IV, 184.
Allan Water, or, My Love Annie’s very Bonny, IV, 184.
Allison Gross (No 35), I, 313-5; III, 504; V, 214.
I, 315, 339 n.
Amang the blue flowers and yellow, I, 247.
Andrew Bartin, V, 302 f.
Andrew Bodee, IV, 393.
Andrew Lammie (No 233), IV, 300-8.
IV, 92.
Annan Water, IV, 184 f.
IV, 179.
Annie Livingston, IV, 231.
Archie o Cawfield (No 188), III, 484-95; IV, 516 f.
III, 476 n.
Archie of Cafield, III, 484, IV, 516.
Archie of the Cawfield, III, 484.
Armstrong and Musgrave, IV, 432.
Arthur’s Seat shall be my Bed, or, Love in Despair, IV, 105.
IV, 93.
As I went out ae May morning, IV, 332.
Auld Carle Hood, or, Earl Brand, I, 489, 491.
The Auld Harper, IV, 16.
Auld Ingram, II, 126.
II, 113 n.
Auld Matrons (No 249), IV, 391 f.
II, 406; III, 15 n.
Aye as the Gowans grow gay, I, 22.
Baby Livingstone, IV, 231.
Babylon, or, The Bonnie Banks o Fordie (No 14), I, 170-7, 501; II,
499; III, 499 f.; IV, 450; V, 209, 287.
I, 121 n.
The Baffled Knight (No 112), II, 479-93; III, 518; IV, 495; V, 239
f., 296.
II, 378; III, 258 n.
The Baffled Knight, or, the Lady’s Policy, II, 479.
The Bailiff’s Daughter of Islington (No 105), II, 426-8; III, 518;
V, 237.
Ballade of the Scottysche Kynge, IV, 499.
The Banished Man, I, 170.
The Banks of Italy, IV, 360.
The Banks of Omey, IV, 270.
Bar aye your bower door weel, I, 300.
Barbara Allan, II, 276.
Barbara Allen’s Cruelty, II, 276, 278.
Barbara Livingston, IV, 231.
The Baron of Brackley (No 203), IV, 79-89, 522; V, 253 f., 298.
II, 240; IV, 309 n.
The Baron of Braickly, IV, 309 n.
The Baron o Leys (No 241), IV, 355-8; V, 275.
The Baronne (Barrone) of Braikley (Braikly), IV, 79.
The Barron of Breachell, V, 253 f.
The Battle of Agincourt, V, 245.
The Battle of Alford, IV, 78.
The Battle of Balrinnes, III, 317, and n.
The Battle of Harlaw (No 163), III, 316-20; V, 245.
The Battle of Loudon Hill, IV, 105.
The Battle of Otterburn (No 161), III, 289-302, 520; IV, 499-502;
V, 243 f., 297.
III, 304, 305, 332.
The Battle of Philiphaugh (No 202), IV, 77-9.
Bauld Rankin, II, 320.
The Beautifull Shepherdesse of Arcadia, II, 457, 476 f.
The Beggar-Laddie (No 280), V, 116-20, 305.
The Beggar’s Bride, V, 116.
The Beggar’s Dawtie, V, 116.
Benorie, I, 493 f.
The Bent sae Brown (No 71), II, 170-3; III, 509; IV, 469; V, 223;
II, 167, 240.
Bertram the Bauld Archer, III, 1; IV, 495.
Bessy Bell and Mary Gray (No 201), IV, 75-77, 522; V, 253.
The Betrayed Lady, I, 111.
Bewick and Graham (No. 211), IV, 144-50, 522.
Bewick and Grahame, the Song of, IV, 144-8.
Billie Archie, III, 484.
Binnorie, I, 118, 493, 495.
Binnorie, O an Binnorie, I, 118.
The Birth of Robin Hood, II, 412.
I, 178, 182; II, 406, 411, 416.
The Bishop of Hereford’s Entertainment by Robin Hood and Little
John, etc., III, 196.
Blancheflour and Jellyflorice (No 300), V, 175 f.
The Blende Harper, etc., IV, 16.
The Blind Harper, IV, 16.
The Blind Harper of Lochmaben, IV, 16.
Bloody Lambkin, II, 513.
Blow the winds, heigh, ho! II, 479.
Blue Flowers and Yellow, I, 247.
The Blue Flowers and the Yellow, I, 247; IV, 453.
The Blynde Harpers, with the Answere, “a ballet,” IV, 16.
Bob Norice, II, 263.
Bold Burnet’s Daughter, I, 450.
Bold Dickie, III, 495.
The Bold Pedlar and Robin Hood (No 132), III, 154 f.; V, 240.
III, 130, 137, 144 n., 168; V, 126.
Bold Rankin, II, 320.
Bondsey and Maisry, II, 281.
Bonnie Annie (No 24), I, 244-7; IV, 452 f.
I, 182; II, 499.
Bonnie Annie Livieston, V, 261.
Bonny Baby Livingston (No 222), IV, 231-9, 523; V, 261 f.
IV, 423.
The Bonny Banks O Fordie (No 14).
See Babylon.
Bonny Barbara Allan (No 84), II, 276-9; III, 514.
V, 166.
Bonny Bee Hom (No 92), II, 317-9; V, 229.
I, 200 f.; II, 156, 234.
The Bonny Birdy (No 82), II, 260 f.
II, 243.
The Bonny Bows o London, I, 118.
The Bonny Braes of Yarrow, IV, 160.
The Bonny Brown Girl, V, 166.
The Bonny Earl of Livingston, II, 309.
The Bonny Earl of Murray (No 181), III, 447-9; IV, 515.
IV, 44.
Bonny Foot-Boy, IV, 400.
II, 441; IV, 451 a.
Bonnie George Campbell, IV, 142.
The Bonny Hind (No 50), I, 444-7; V, 218.
I, 178, 185, 283 n.
The Bonny Hind Squire, I, 425.
The Bonnie House o Airlie (No. 199), IV, 54-60; V, 252.
IV, 161 n.
The Bonnie (Bonny) House o (of) Airlie (Airly, Airley), IV, 54.
The Bonny Hyn (Heyn), I, 444, 447.
Bonnie James Campbell (No 210), IV, 142-4.
Bonnie Jean o Bethelnie, IV, 338.
Bonnie John Campbell, IV, 142.
Bonny John Seton (No 198), IV, 51-4; V, 251 f.
Bonnie Johnie Scot, II, 377.
The Bonny Lads of Anglesey (No 220), IV, 214 f.
The Bonnie Lass o Englessies Dance, IV, 214.
The Bonnie Lass o Fyvie, V, 172.
The Bonnie Lass o the Hie Toun End, V, 153.
The Bonny Lass of Lochvoyan, or Lochroyan, II, 213.
Bonnie Lizie Baillie (No 227), IV, 266-70; V, 265.
Bonny Lizie Lindsay, IV, 255.
Bonny (Bonnie) May (==The Broom of Cowdenknows); IV, 191; (==The
Keach i the Creel), V, 121.
The Bonnie Mermaid, V, 148.
The Bonnie Milldams o Binnorie, I, 118.
Bonny Molly Stewart, II, 317 n.
Bonny Peggy, IV, 270.
Bonny Peggy Irvine, IV, 311.
Bonnie Rantin Laddie, IV, 351.
Bonnie Susie Cleland, II, 112.
The Bonnie Wee Croodlin Dow, I, 151.
Bony Catrain Jaffry, V, 260.
Bothwell, I, 62.
Bothwell Bridge (No 206), IV, 108-10.
IV, 106.
The Boy and the Mantle (No 29), I, 257-74, 507; II, 502; III, 503;
IV, 454; V, 212 f., 289.
The Braes o Yarrow (No 214), IV, 160-77, 522 f.; V, 255 f.
IV, 276.
The Braes of Yarrow, Logan’s, IV, 161, 178; Hamilton’s, IV, 163.
The Brave Earl Brand and the King of England’s Daughter, I, 88.
The Bridal Sark, I, 7.
The Bridegroom Darg, I, 7.
The Bride’s Testament, I, 141, 496.
Brig. Macintosh’s Farewell to the Highlands, or, Macintosh was a
Soldier Brave, IV, 117.
The Broom blooms bonnie (bonie) (==Leesome Brand), I, 177.
The Broom blooms bonnie (==Sheath and Knife), I, 185; V, 210.
The Broom o the Cathery Knowes, II, 346.
The Broom of Cowdenknows (No 217), IV, 191-209, 523; V, 257 f.
I, 446; III, 451; V, 153.
The Broom of the Cowdenknowes, IV, 191.
The Broomfield Hill (No 43), I, 390-9, 508; II, 506; III, 506; IV,
459; V, 290.
I, 335; IV, 389.
Broomfield Hills, I, 390.
The Brothers-in-Arms, IV, 145.
Broughty Wa’s (No 258), IV, 423 f.
Brown Adam (No 98), II, 373-6.
V, 234.
Brown Adam the Smith, II, 373.
The Brown Bride and Lord Thomas, II, 179.
Brown Edom, II, 373.
The Brown Girl (No 295), V, 166-8.
The Brown Girl (==Lord Thomas and Fair Annet), III, 509 f.
Brown Robin (No 97), II, 368-73.
Brown Robyn and Mally, II, 368.
Brown Robyn’s Confession (No 57), II, 13-6, 510; III, 508; IV, 462
f.; V, 220, 292.
I, 245, and n., 436; II, 17.
The Buchanshire Tragedy (==Sir James the Ross), IV, 156.
Burd Alone, II, 83.
Burd Bell, IV, 417.
Burd Ellen, II, 83.
Burd Ellen and Young Tamlane (No 28), I, 256, 507; III, 503.
Burd Helen (==Fair Annie), II, 63.
Burd Helen (==Child Waters), II, 83.
I, 23 n.
Burd Hellen, or, Browghty Wa’s, IV, 428.
Burd Isabel and Earl Patrick (No 257), IV, 417-23; V, 278 f.
Burd Isbel and Sir Patrick, IV, 417.
Burning of Auchindown, III, 456.
The Burning of Frendraught, IV, 39.
The Burning o Loudon Castle, III, 423.
The Burning of the Tower of Frendraught, IV, 521 f.
The Cambrick Shirt, I, 6.
Captain Car, or, Edom o Gordon (No 178), III, 423-38, 520; IV, 513-5;
V, 247 f., 299.
IV, 44, 64.
Captain Glen, II, 16; IV, 463.
Captain Ward and the Rainbow (No 287), V, 143-5, 305.
Captain Wedderburn’s Courtship (No 46), I, 414-25; II, 507; III, 507;
IV, 459; V, 216 f., 291.
I, 1, 2 n., 3 n., 20, 426.
Captain Wederburn, V, 216.
Carle of Kelly-Burn Braes, V, 107.
The Carnal and the Crane (No 55), II, 7-10, 509 f.; III, 507; IV,
462; V, 220.
I, 233, 235.
A Carol for St. Stephen’s Day, I, 233.
The Carpenter’s Wife, IV, 360.
The Carrying-off of the Heiress of Kinady, IV, 309, and n.
Castle Ha’s Daughter, I, 450.
Catharine (Catherine) Jaffery (Janferry), IV, 216.
Catherine Johnson (Johnstone), IV, 216.
Cathrine Jaffray, IV, 216.
Charles Graeme, IV, 475 f.
Charlie MacPherson (No 234), IV, 308-10; V, 301.
The Cherry-Tree, II, 1.
The Cherry-Tree Carol (No 54), II, 1-6, 509; V, 220.
Chevy Chase, III, 303, 314.
III, 293, 317.
Chield Morice, II, 263, 274.
Chil Brenton, I, 62.
Child Brenton, I, 62.
Child Maurice (No 83), II, 263-75; III, 514; IV, 478.
II, 127, 303, 377, 378; V, 284.
Child Noryce, II, 263; IV, 478.
Child Nourice, Buchan’s MSS, II, 264.
The Child of Ell, I, 88.
Child Owlet (No 291), V, 156 f., 305.
Child Rowland to the darke tower came, fragment, V, 201.
Child Vyet, II, 126.
Child Waters (No 63), II, 83-100, 511; III, 508; IV, 463; V, 220-2.
I, 23 n., 49 n., 112 n.; II, 127, 406, 430, 458, 499; IV, 186, 423.
Chirstie Graeme, IV, 144.
Christopher White (No 108), II, 439 f.
Clark Colven, I, 371 f.
Clerk Colin, V, 215.
Clerk Colvill (No 42), I, 371-89; II, 506; III, 506; IV, 459; V, 215
f., 290.
II, 143; IV, 187; V, 284.
Clerk Colvill, or, The Mermaid, I, 371.
Clerk Sandy, II, 156; IV, 468.
Clerk Saunders (No 69), II, 156-67, 512; III, 509; IV, 468 f.; V,
223, 293.
II, 100, 167, 170, 173, 226, 240, 244, 317, 406; IV, 39, 163, 276,
415, 474; V, 91, 166.
Clerk Tamas, IV, 426.
Clerk Tamas and Fair Annie, IV, 426.
The Clerks of Owsenfoord, II, 173.
The Clerk’s Twa Sons o Owsenford (No 72), II, 173-91, 512; III,
509; IV, 469, 293.
II, 112 n., 156, 238, 264, 417.
The Clerks Two Sons of Oxenfoord, II, 173.
Clyde’s (Clide’s) Water (==The Mother’s Malison) (No 216), IV,
185-91; V, 256 f., 301.
IV, 117, 415, 471 b.
Clyde’s Water (==Young Hunting), II, 142.
The Coble o Cargill (No 242), IV, 358-60.
Cold blows the wind, III, 512.
Cold blows the wind, sweetheart, IV, 474.
The Cooper of Fife, V, 104.
Cospatrick, I, 62; V, 283 n.
A councell brave [grave] our king did hold, ballad on Agincourt,
III, 321.
The Countess of Errol, IV, 282.
Courteous King Jamie, Lewis’s ballad, I, 297.
The Courteous Knight, I, 425.
The Courtier and Country Maid, II, 483.
The Covering Blue, V, 121.
The Crafty Farmer (No 283), V, 128-31.
The Crafty Miller, V, 128.
The Crafty Ploughboy, V, 129.
The Creel, or, Bonny May, V, 121.
The Croodin Doo, I, 151; V, 209.
The Croodlin Doo, I, 151.
Crow and Pie (No 111), II, 478 f.
The Crowdin Dou, I, 498.
The Cruel Brother (No 11), I, 141-51, 496-8; II, 498; III, 499; IV,
449; V, 208, 286.
I, 66 n., 155, 383 n., 436; II, 298.
The Cruel Brother, or, the Bride’s Testament, I, 141.
The Cruel Knight, II, 288.
Cruel Lammikin, II, 320.
The Cruel Mother (No 20), I, 218-27, 504 f.; II, 500 f.; III, 502;
IV, 451; V, 211 f., 287.
I, 230.
The Cruel Sister, I, 118; IV, 447.
Cruel William, II, 83.
The Cruelty of Barbara Allen, II, 276.
The Cunning Clerk, V, 121.
The Dæmon Lover (No 243). See James Harris.
The Dainty Downby, V, 153.
Dame Oliphant, or, Willie o Douglass-dale, II, 406.
Davie Faw, IV, 61.
Dead Maid’s Land, V, 259.
Death and the Lady, II, 204.
The Death of John Seton, IV, 51.
Death of Lord Rannal, V, 209.
Death of Lord Warriston, IV, 28.
The Death of Parcy Reed (No 193), IV, 24-8, 520 f.
The Death of Queen Jane (No 170), III, 372-6; V, 245 f., 298.
The Death of the Countess of Aboyne, IV, 309 n., 311.
The Deil’s Courting, I, 6.
The Deil’s Courtship, I, 6.
Dernie Hughie, II, 480.
The Devil and the Scold, V, 305.
Devonshire’s Noble Duel with Lord Danby, in the year 1687, IV, 110.
Diabolus et Virgo, V, 283.
Dick o the Cow (No 185), III, 461-8.
III, 475 n.; IV, 1.
Dick of the Cow, An excelent Old Song cald, III, 461.
The Disconsolate Lady, II, 424.
A Discourse betwixt (between) a young Woman and the Elphin
Knight, I, 6, 20.
The Distressed Ship-Carpenter, IV, 360, 369.
Diverus and Lazarus, II, 10.
Dives and Lazarus (No 56), II, 10-12, 510; III, 507 f.; IV, 462; V,
220, 292.
Donald M’Queen’s Flight wi Lizie Menzie, V, 305 f.
Donald of the Isles (==Glasgow Peggie), IV, 270.
Donald of the Isles (==Lizie Lindsay), IV, 255.
The Douglas Tragedy, I, 88, 91, 96, 99, 489, 492; II, 170 n., 457
n.; III, 497; IV, 64, and n., 426.
Douglass Dale, II, 406.
Dowie Banks of Yarrow, IV, 160.
The Dowie Den in Yarrow, IV, 160.
The Dowie Dens, IV, 160.
The Dowy Dens, non-traditional ballad, IV, 163.
The Dowie Dens o Yarrow (==The Water o Gamrie), IV, 178.
The Dowie Dens of Yarrow, IV, 160, 522.
The Dowie Downs o Yarrow, IV, 160.
The Dowie Glens of Yarrow, IV, 160, 177 b.
The Dowy Houms o Yarrow, IV, 160.
The Dragoon and Peggy, V, 172.
The Drowned Lady, I, 118.
The Drowned Lovers, I, 372, and n., 435; II, 240; IV, 185.
Drowsy Lane, I, 300.
Drumclog (Loudon Hill) (No 205), IV, 105.
The Drunkard’s Legacy, V, 12, 19 f.
Dugall Quin (No 294), V, 165 f., 305 f.
The Duke of Athol, IV, 299.
Duke of Athole’s Gates, IV, 150.
(The) Duke (o) of Athol’s Nourice, IV, 150.
The Duke of Athole’s Nurse (No 212), IV, 150-5.
IV, 161, 178.
The Duke of Bedford, V, 298.
The Duke of Gordon’s Daughter (No 237), IV, 332-8; V, 273.
The Duke of Gordon’s Daughters, IV, 332.
The Duke of Gordon’s Three Daughters, IV, 332, 335.
Duke of Perth’s Three Daughters, I, 170.
The Duke’s Daughter’s Cruelty, II, 500, 501.
Durham Field (No 159), III, 282-7; V, 297.
III, 352.
Earl Bichet, IV, 460.
Earle Bodwell, III, 399.
Earl Bothwell (No 174), III, 399-401; V, 247.
Earl Bran, I, 88; IV, 444.
Earl Brand (No 7), I, 88-105, 489-93; II, 498; III, 497 f.; IV,
443-5; V, 207, 285 f.
I, 67, 93, 95, and n., 106, 178, 496; II, 170 n., 240; IV, 64.
Earl Crawford (No 229), IV, 276-80; V, 301.
Earl Lithgow, II, 457.
Earl Marshall, III, 257; IV, 498.
The Earl of Aboyne (No 235), IV, 311-21; V, 270-2, 301 f.
IV, 355.
Earl of Aboyne, IV, 311.
The Earl o Boyn, IV, 311.
The Earl o Bran, IV, 443 f.
The Earl of Douglas and Dame Oliphant, II, 406.
The Earl of Errol (No 231), IV, 282-91; V, 267-70.
Earl of Errol and Lady Catherine Carnegie, Ballad of Gilbert, IV,
289.
Earl of Essex, V, 145.
Earl of Hume, IV, 270.
The Earl of Mar’s Daughter (No 270), V, 38-42.
The Earl of Rosslyn’s Daughter, I, 414.
The Earl of Westmoreland (No 177), III, 416-23, V, 299.
III, 402, 408.
Earle of Westmorelande, III, 416.
The Earl of Winton’s Daughter, IV, 291.
Earl Patrick, IV, 375.
Earl Patrick and Burd Isabel, IV, 417.
Earl Patrick Graham, II, 17.
Earl Patricke Spensse, II, 17.
Earl Richard (==Young Hunting) II, 142.
Earl Richard (==The Knight and Shepherd’s Daughter), I, 67 n.; II,
457.
Earl Richard’s Daughter, IV, 400.
Earl Richard, the Queen’s Brother, II, 457.
Earl Richmond, IV, 492.
Earl Robert, II, 284.
Earl Rothes (No 297), V, 170.
Earl Walter, ballad of Mrs Hampden Pye, II, 83.
Earlington’s Daughter, IV, 445 b.
Earlistown, IV, 109.
Eastmuir King, II, 296.
The Eastmure King and the Westmure King, II, 51 n., 296.
Edinburgh castle, towne and tower, fragment, V, 202.
Edom of Achendoon, V, 247.
Edom o Gordon (Captain Car), (No 178), III, 423-38, 520; IV, 513-15;
V, 247 f.
IV, 44, 64.
Edward (No 13), I, 167-70, 501; II, 499; III, 499; V, 209, 287.
I, 143, 155, 437, 446.
The Egyptian Laddy, IV, 61.
The Elfin Knicht, I, 6.
The Elfin Knight (No 2), I, 6-20, 484 f.; II, 495 f.; III, 496; IV,
439 f.; V, 205 f., 284.
I, 23 n., 178 n., 283.
Elfrida and Sir James of Perth, IV, 156.
Elisa Bailly, V, 265.
The Enchanted Ring, II, 317.
Eppie Morrie (No 223), IV, 239 f.; V, 262.
IV, 232, 245.
Eppie Norrie, V, 262 b.
Erlinton (No 8), I, 106-11; III, 498 f.; IV, 445-7.
I, 88, and n., 93, 178.
Errol’s Place, IV, 282.
Fair Annie (No 62), II, 63-83, 511; IV, 463; V, 220.
II, 180 n.; IV, 409.
Fair Annie and Sweet Willie, II, 179.
Fair Annie of Lochroyan, II, 17, 100.
Fair Anny, II, 213.
Fair Eleanor’s Tragedy, II, 180; III, 509 b.
Fair Ellen, V, 220.
The Fair Flower of Northumberland (No 9), I, 111-18, 493; II, 498;
III, 499; V, 207 f.
I, 49 n., 432, 456 n.; III, 351.
Fair Helen of Kirconnell, II, 429.
Fair Isabell of Rochroyall, II, 213.
Fair Janet (No 64), II, 100-11; III, 508; IV, 464-6; V, 222, 292.
I, 96; II, 113, and n., 137, 499; III, 381, 497 b.; IV, 39, 411,
471.
Fair Janet and Sweet William, II, 100.
Fair Mabel of Wallington, II, 309.
Fair Margaret (==Child Waters), II, 83.
Fair Margaret (==Proud Lady Margaret), I, 425.
Fair Margaret and Sweet William (No 74), II, 199-203; V, 224 f., 293.
I, 96; II, 156, 180, 204, 205, 214, 288.
Fair Margaret’s Misfortune (Misfortunes), II, 199, and n., 203.
Fair Mary of Wallington (No 91), II, 309-17, 513; III, 515; IV, 479
f.; V, 227-9.
II, 126 n., 127, 377.
Fair Orange Green (==Jamie Douglas), IV, 90.
A fair pretty maiden she sat on her bed, IV, 439.
The Fairy Court, I, 335.
The Fairy Knight, I, 6, 178 n.
The False Knight, I, 20, 485.
The False Knight Outwitted, I, 22.
The False Lover Won Back (No 218), IV, 209-11.
False Sir John, I, 22.
The Famous Flower of Serving-men (No 106), II, 428-32; III, 518;
IV, 492.
II, 501.
The Famous Flower of Serving-men, or, The Lady turned Serving-man,
II, 431.
The Famous Sea-Fight between Captain Ward and the Rainbow, V, 145.
The Famous Victories of Henry Fifth, III, 322 n.
The Farmer’s Curst Wife (No 278), V, 107 f., 305.
The Farmer’s Old Wife, V, 107.
Fa’se Footrage, II, 296.
Fause Foodrage (No 89), II, 296-301, 513; III, 515; IV, 479.
II, 51 n., 303; III, 430.
The Fause Knight upon the Road (No 3), I, 20-22, 485; II, 496; III,
496; IV, 440.
The Fause Lord, II, 63.
The Fause Lover, IV, 209.
Fause Sir John and May Colvin, I, 22.
Fine Flowers in the Valley, I, 218, 227.
Fine Flowers of the Valley, I, 141.
The Fire of Frendraught (No 196), IV, 39-49, 521 f.; V, 251, 300.
Flodden Ffeilde, Ffloden Ffeeld, Flowden Feilde, III, 353, 361.
Flodden Field (No 168), III, 351-62; IV, 507; V, 298.
III, 294, 332; IV, 36.
The Flower of Northumberland, I, 111.
The Flowers of Edinburgh, V, 153.
For I’ll cut my green coat a foot above my knee, fragment, V, 202.
The French Galley, V, 135.
The French Gallio (Galolee), V, 135.
Frennet Hall, non-traditional ballad, IV, 39.
The Friar, V, 100.
The Friar and Fair Maid, V, 100.
The Friar in the Well (No 276), V, 100-3.
III, 122.
The Fryar and the Maid, V, 100.
The Fryer servd in his kind, V, 100.
The Fryer well fitted, V, 100, 103.
The Gaberlunyie Man, V, 109, 115, 116.
The Gaberlunzie Laddie, or, The Beggar’s Bride, V, 116, 305.
Galla Water, IV, 270.
The Gallant Grahams, IV, 78.
The Gardener (No 219), IV, 212-14; V, 258-60.
IV, 210.
The Gardener Lad, IV, 212.
Gay Gos Hawk, IV, 483 b.
The Gay Goshawk (No 96), II, 355-67; III, 517; IV, 482-6; V, 234,
296.
I, 247; V, 6.
Geordie (No 209), IV, 123-42.
IV, 55, 351, 370.
Geordie Lukely (Lukelie), IV, 123, 127.
The George Aloe and the Sweepstake (No 285), V, 133-5.
V, 136.
George of Oxford, The Life and Death of, IV, 126, 141 f.
George Stoole, a lamentable new ditty made upon the death of a worthy
gentleman named, etc., IV, 126 f., 140 f.
A Gest of Robyn Hode (No 117), III, 39-89, 518 f.; IV, 496 f.; V,
240, 297.
I, 257 n.; II, 13; III, 16, 22, 96, 103, 108, 109, 116, and n.,
121 n., 129, 130, 159, 191, 194, 197, 220, 223, 227.
Get up and Bar the Door (No 275), V, 96-9, 281, 304.
The Ghost and Sailor, II, 234.
Gight’s Lady, IV, 123.
Gil Brenton (No 5), I, 62-81, 489; II, 498; III, 497; IV, 442 f.;
V, 207, 285.
I, 268; IV, 214, 276.
Giles Collins (Collin), III, 515; V, 225.
Giles Collins and Lady Annie, III, 514.
Giles Collins and Proud Lady Anna, II, 279.
Gill Morice, Gil Morrice, II, 263, 377.
Gillnokie, III, 363.
The Gipsey Davy, IV, 61.
The Gipsy Countess, IV, 62.
Give him flowers enow, palmer, give him flowers enow, fragment, V,
202.
Glasgerion (No 67), II, 136-42, 511 f.; III, 509; IV, 468; V, 293.
II, 101, 144; V, 220.
Glasgow Peggie (No 228), IV, 270-5; V, 266 f.
Glen Skeeny, IV, 468 a.
Glenkindie (-kindy), II, 136, 368; IV, 468.
I, 23 n.
Glenlogie, or, Jean o Bethelnie (No 238), IV, 338-46; V, 273, 302.
Glenogie, IV, 338.
God be wi the, Geordie, IV, 454.
God sen the Duc hed byddin in France, fragment, V, 202.
The Golden Ball, II, 346; V, 201, 233.
The Golden Key, II, 346.
The Golden Vanity; or, The Low Lands Low (The Sweet Trinity) (No
286), V, 135 ff., 305.
The Gordons and the Grants, IV, 49.
The Goulden Vanitie (-tee), V, 135, 305.
The Gowans sae Gay, I, 22.
Graeme and Bewick, IV, 144.
The Great Bull of Bendy-law, V, 203.
The Great Silkie of Sule Skerry (No 113), II, 494; III, 518; IV,
495.
II, 496.
The Green Broomfield, I, 390 n.
Greenland, V, 148.
The Grey Cock; or, Saw you my father? (No 248), IV, 389 f.; V, 302.
IV, 415.
Gnde Earl Brand and Auld Carle Hude, I, 489 f.
Gude Wallace (No 157), III, 265-75; V, 242 f.
II, 513; III, 179, 191.
Guye of Gisborne, III, 89.
The Gypsie Loddy, IV, 61.
The Gypsy Laddie (No 200), IV, 61-74, 522; V, 252 f., 300.
IV, 266; V, 306.
The Hagg Worm, II, 503.
The Hangman’s Tree, V, 296.
Hardyknute, II, 296.
The Haughs o Crondale, III, 317 n.; IV, 78.
The Haughs o Yarrow, recent ballad, IV, 163.
Hayrlau, The Battel of the, III, 317.
He steps full statly on y^e stre[et], fragment, V, 202.
He took a sword in every hand, fragment, V, 203.
The Heir of Lin, V, 11.
The Heir of Linne (No 267), V, 11-20.
I, 455.
The Heiress of Northumberland, V, 207.
Helen, IV, 423.
Henry Martyn (No 250), IV, 393-6; V, 302.
Hero and Leander, Tragedy of, IV, 186.
Hey wi the rose and the lindie, O, I, 218.
The High Banks o Yarrow, I, 244.
The Highwayman Outwitted, V, 129.
Hind Etin (No 41), I, 360-71, 508; II, 506; III, 506; IV, 459; V,
215.
I, 340, 450, 488 a; IV, 440.
Hind Henry, II, 302.
Hind Horn (No 17), I, 187-208, 502-4, 508; II, 499 f.; III, 501 f.;
IV, 450 f.; V, 210 f., 287.
I, 255, 455, 456 n., 459; II, 317; III, 179, 188; IV, 401.
Hindhorn, I, 187.
Hobie Noble (No 189), IV, 1-4.
III, 476, and n.
Hold up, hold up your hands so high (==Maid freed from the Gallows),
IV, 482 a.
The Holy Nunnery (No 303), V, 179-81.
The Honour of a London Prentice, III, 508.
The House-Carpenter, IV, 361.
Hugh of Lincoln, III, 233.
Hugh Spencer, III, 275.
II, 377, 439.
Hugh Spencer’s Feats in France (No 158), III, 275-82; IV, 499; V,
243.
II, 441; IV, 231 b.
Hughie Graham, IV, 8.
Hughie Grame (No 191), IV, 8-15, 518-20; V, 300.
III, 367 n., 471 n.; IV, 126.
Hughie the Græme, IV, 8.
The Hunting of the Cheviot (No 162), III, 303-15; IV, 502; V, 244,
297.
III, 292 n., 295.
Huntingtower, IV, 299.
Hunttis of Chevet, III, 292 n., 303.
Hynd (Hynde) Horn, I, 187, 503.
Hynde Etin, I, 360.
I had six lovers over the sea (==Captain Wedderburn’s Courtship),
III, 507 a.
I’ll no ly neist the wa, I, 414.
I’ll wager, I’ll wager, I, 390.
I sowd the seeds of love, V, 259.
Inter Diabolus et Virgo, V, 283.
Irish Dragoons, V, 172.
Isaac-a-Bell and Hugh the Graeme, I, 208.
It’s braw sailing here, V, 259.
It was an old tale, ten thousand times told, fragment, V, 202.
It was the friar of orders gray, fragment, V, 201.
Jack, the Little Scot, II, 377.
Jacky, my son, V, 209.
James V and the Tinker, V, 73 n.
James Grant (No 197), IV, 49 f.; V, 251.
James Harris (The Dæmon Lover) (No 243), IV, 360-9, 524.
James Hately (Hatelie), IV, 370.
James Hatley (No 244), IV, 370-5.
James Herries, IV, 360.
IV, 390.
Jamie Douglas (No 204), IV, 90-105.
IV, 276.
Jamie o’ Lee, II, 441; III, 518; IV, 370.
Jamie Telfer in the fair Dodhead, V, 249.
Jamie Telfer of the Fair Dodhead (No 190), IV, 4-8, 518; V, 249-51,
300.
Janet, II, 112.
Jean o Bethelnie (No 238). See Glenlogie.
Jean o Bethelnie’s Love for Sir G. Gordon, IV, 338.
Jellon Grame (No 90), II, 302-8, 513; III, 515; IV, 479; V, 226 f.,
295.
II, 240, 298, 368, 378, 412; IV, 35 n.
Jellon Grame and Lillie Flower, II, 302.
The Jew’s Daughter. (Sir Hugh) (No 155), III, 233.
II, 13; V, 241.
Jo Janet, II, 457.
Jock of Hazeldean, Scott’s, V, 160.
Jock o Hazelgreen, V, 159.
Jock o the Side (No 187), III, 475-84.
II, 240; III, 472 n., 485, 486; IV, 1 n.
Jock Sheep, II, 480.
Jock Sheep, or, the Maiden Outwitted, II, 480.
Jock the Leg and the Merry Merchant (No 282), V, 126-8.
The Jockey’s Lamentation, I, 7.
John a Side, III, 475.
John and William, I, 435.
John Armstrong, The Death of, III, 363.
John Arm-strongs last Good-Night, III, 382, 371; IV, 36.
John (Johnie) Blunt, V, 96.
John Dory (No 284), V, 131 f.
John Lankin, V, 295.
John o Cockielaw, IV, 495.
John of Hazelgreen (No 293), V, 159-64.
John o the Side, III, 475.
John Tamson, V, 1.
John the Little Scot, IV, 491; V, 234.
John Thomson and the Turk (No 266), V, 1-10, 279 f.
John Tomson and Jakaman his wife, A merry jest of, V, 8.
Johnie Armstrang, III, 362.
Johnie Armstrong (No 169), III, 362-72, 520; IV, 507; V, 298.
IV, 10, 80; V, 187 n.
Johnny Armstrong’s last Good-Night, III, 362, 372.
II, 276.
Johnnie Barbour, II, 398.
Johnnie Brad, III, 1.
Johnie Buneftan, II, 377.
Johnie Cock (No 114), III, 1-12; IV, 495 f.
IV, 163.
Johny Cox, III, 1.
Johnnie Faa, IV, 522.
Johnnie Faa and the Countess o Cassilis, The rare Ballad of, IV, 62.
Johnnie Faa the Gipsy Laddie, IV, 61.
Johnie of Braidisbank, III, 1; IV, 495.
Johnie of Breadislee, III, 1.
Johnie of Cockerslee, III, 1.
Johnie o Cocklesmuir, III, 1.
Johnie Scot (No 99), II, 377-98; IV, 486-91; V, 234 f.
IV, 111, 397; V, 284.
Johnston Hey and Young Caldwell, II, 288.
The Jolly Beggar (No 279), V, 109-116.
The Jolly Beggar-man, V, 109.
The Jolly Beggars, V, 109.
The Jolly Goshawk, II, 355.
The Jolly Harper, IV, 16.
The Jolly Hind Squire, I, 425.
Jolly Janet, I, 425.
The Jolly Pinder of Wakefield (No 124), III, 129-132.
III, 121, 132.
Joseph was an old man, II, 1.
The Jovial Beggarman, V, 109.
The Jovial Hunter of Bromsgrove, I, 208.
The Jovial Tinker and Farmer’s Daughter, V, 109.
Judas (No 23), I, 242-4; V, 288.
Kate Carnegie, IV, 282.
Katharine Jaffray (No 221), IV, 216-31, 523; V, 260 f.
Katherine Jaffarie, IV, 216.
The Keach i the Creel (No 281), V, 121-5.
Kellyburnbraes, V, 107.
Kemp Owayne, I, 306.
Kemp Owyne (No 34), I, 306-13; II, 502-5; III, 504; IV, 454; V, 213
f., 290.
I, 315 f.
Kempion, I, 306.
Kempy Kane, I, 300.
Kempy Kay (Kaye) (No 33), I, 300-6; V, 213, 289.
Kertonha, or, The Fairy Court, I, 335.
King Alfred and the Shepherd, III, 165; V, 73.
King and Shepperd, V, 73 n.
A King and a Shepherd, A merry songe of, V, 73 n.
King and Tanner, V, 68.
The King and the Bishop, I, 404; IV, 459 b.
The King and the Forrester, V, 74, and n.
The King and the Tanner, V, 68.
The Kinge and the Tanner, A merie songe of, V, 67 f.
The King and the Tinkler, V, 73 n.
King Arthur and King Cornwall (No 30), I, 274-88, 507; II, 502; III,
503.
I, 67; II, 240.
King Edelbrode, V, 203.
King Edward the Fourth and a Tanner of Tamworth, Percy’s ballad, V,
68, and n.
King Edward the Fourth and a Tanner of Tamworth (No 273), V, 67-87,
303.
King Estmere (No 60), II, 49-55, 510 f.; III, 508; IV, 463.
II, 57; III, 18 n.
King Henry (No 32), I, 297-300; II, 502; IV, 454; V, 289.
I, 292, 301.
King Henry the Fifth’s Conquest of France (No 164), III, 320-6; V,
245.
King James and Brown (No 180), III, 442-6.
III, 400.
King James and the Tinker (Tinkler), V, 73, and n.
King James the First and the Tinker (Fortunate Tinker), V, 73 n.
Kinge John and Bishoppe, I, 403.
King John and the Abbot, Percy’s ballad, I, 404.
King John and the Abbot of Canterbury, I, 403.
I, 1.
King John and the Bishop (No 45), I, 403-14, 508; II, 506 f.; IV,
459; V, 216, 291.
King Knapperty, I, 300.
King Malcolm and Sir Colvin, II, 62.
The King of Fairies, I, 496 f.
The King of Scots and Andrew Browne, III, 445.
King Orfeo (No 19), I, 215-17, 504; II, 500; III, 502; IV, 451; V,
211.
I, 339.
King William and his Forrester, V, 74 n.
King William going a hunting, V, 74 n.
The King’s Disguise and Friendship with Robin Hood (No 151), III,
220-2.
III, 133 n.
The King’s Dochter Lady Jean (No 62), I, 450-4.
Kinmont Willie (No 186), III, 469-74; IV, 516.
II, 127, 240; III, 463; V, 187 n.
The Kitchen-boyes Songe, A ballett, V, 34.
The Kitchie-Boy (No 252), IV, 400-8; V, 277 f.
IV, 451; V, 11 n., 34.
The Knicht o Archerdale, I, 425.
The Knight and Lady, II, 479.
The Knight and Shepherd’s Daughter (No 110), II, 457-77; IV, 492-4;
V, 237-9.
I, 67, 292, 340, 446; II, 84, 170 n., 399; III, 265 n.; IV, 423.
Knight and a fair virgin, ballad, or “sonnet” of a, I, 292.
The Knight and the Chief’s Daughter, II, 497.
The Knight in Jesuite, V, 34 n.
The Knight of Liddesdale (No 160), III, 288.
The Knight’s Ghost (No 265), IV, 437 f.
Knip Knap, V, 213.
The Lads of Wamphray (No 184), III, 458-60, 520.
IV, 34.
Lady Alice (No 85), II, 279 f.; III, 514 f.; V, 225 f.
Lady Anne, recent ballad, I, 218 n., 227.
Lady Barbara Erskine’s Lament, IV, 91 n.
Lady Daisy (Dayisie), V, 29.
Lady Diamond (No 269), V, 29-38, 303.
II, 244.
Lady Diamond, the King’s Daughter, V, 29.
Lady Douglas and Blackwood, IV, 90.
Lady Elspat (No 247), IV, 387 f.
Lady Isabel (No 261), IV, 429-31.
I, 432; IV, 426.
Lady Isabel and the Elf-Knight (No 4), I, 22-62, 485-9; II, 496-8;
III, 496 f.; IV, 440-2; V, 206 f., 285.
I, 13, 112 n., 113, 123 n., 432.
The Lady Isabella’s Tragedy, V, 34, and n., 203.
Lady Jane (==Fair Annie), II, 63.
The Lady Jane (==The Death of Queen Jane), III, 372.
Lady Maiserye, V, 222 a.
Lady Maisry (No 65), II, 112-26; III, 508; IV, 466-8; V, 222 f., 292.
II, 100, 103, 204, 264, 309 n., 406; IV, 339 n.; V, 34.
Lady Maisry (==The Maid freed from the Gallows), II, 346.
Lady Maisry (==Mary Hamilton), III, 379.
Lady Margaret (==Earl Brand), I, 88.
Lady Margaret (==Child Waters), II, 83.
Lady Margaret has bound her silken snood, fragment, V, 203.
Lady Margerie (==Jellon Grame), II, 302.
Lady Margery, II, 112; IV, 466.
Lady Marjory, II, 112.
Lady Mary Ann, I, 226.
Lady Mazery, II, 309.
Lady Ouncebell, II, 204.
The Lady of Arngosk (No 224), IV, 241-3.
IV, 232.
The Lady of Livenston, V, 227.
The Lady turnd Serving-Man, II, 429 n.
The Ladye o the Drum, IV, 322.
The Lady’s Policy, or, The Baffled Knight, II, 479.
The Laidley Worm of Spindleston Heughs, I, 308, 311, 316; II, 502-5.
The Laily Worm and the Machrel of the Sea (No 36), I, 315 f.; V,
214 f., 290.
The Laird of Blackwood, IV, 90, 525 b.
The Laird o Drum (No 236), IV, 322-32; V, 272 f.
The Laird of Geight (Gigh), or Gae, IV, 123.
Laird of Gight, IV, 123.
The Laird of Kellary, V, 172.
The Laird o Keltie, V, 153.
The Laird of Knotington, IV, 191.
The Laird of Laminton, IV, 216.
Laird o Leys, IV, 355.
The Laird o Linne, V, 11.
The Laird o Livingstone, II, 309.
The Laird of Lochinvar, IV, 191.
Laird o Lochnie, IV, 191.
The Laird O Logie (No 182), III, 449-56, 520; IV, 515 f.; V, 299 f.
The Laird o Logie, or, May Margaret, III, 449.
(The) Laird of Ochiltree, IV, 191, 515.
The Laird o Ochiltree Wa’s, IV, 191.
The Laird of Roslin’s Daughter, I, 414.
The Laird o the Dainty Downby, V, 153.
The Laird o the Drum, IV, 322.
The Laird of Wariston (No 194), IV, 28-33.
III, 381.
(The) Laird of Waristoun (Wariestoun), IV, 28.
Lairde Rowlande, or Ronalde, V, 208.
Lambert Linkin, II, 320.
Lambkin, II, 320.
The Lament of the Border Widow, II, 429, 430.
Lament of the Queen’s Marie, IV, 509.
The Lamentation of Quene Jane, III, 372.
The Lamenting Lady, etc., II, 68 n.
Lamerlinkin, II, 320.
Lamkin (No 93), II, 320-42, 513 f.; III, 515; IV, 480 f.; V, 229-31,
295.
I, 201; II, 243.
Lammikin, II, 320.
Lang Johnny Moir, IV, 396.
Lang Johnny More (No 251), IV, 396-400, 524.
II, 378.
The Lard of Drum, V, 272.
The Lass of Aughrim, II, 213.
The Lass of Lochroyan, II, 213; IV, 471.
The Lass of Ocram, III, 510 f.
The Lass of Philorth, IV, 309 n., 347.
The Lass of Roch Royal (No 76), II, 213-26; III, 510-12; IV, 471-4;
V, 225, 294.
II, 288; IV, 186.
The Leaves of Lind, I, 63.
Leesome Brand (No 15), I, 177-84, 501 f.; II, 499; III, 500; IV, 450;
V, 209, 287.
I, 33 n., 66, 90 n., 92; II, 101 n., 406, 412, 416; III, 501.
Leezie Lindsay, IV, 255.
The Life and Death of George of Oxford, IV, 141.
The Life and Death of Sir Hugh of the Grime, IV, 8.
The Linkin Ladie, IV, 355.
Little Harry Hughes and the Duke’s Daughter, III, 233.
Little John a Begging (No 142), III, 188-90.
Little John and the Four Beggers, III, 188.
III, 133.
The Little Man, I, 329.
Little Mousgrove and the Lady Barnet, II, 242, 259.
Little Musgrave (Massgrove), II, 242.
Little Musgrave and Lady Barnard (No 81), II, 242-60, 513; IV, 476-8;
V, 225.
II 137,158, 240, 260, 264.
Little Musgrave and the Lady Barnard, II, 242.
Little Mushiegrove, II, 242.
Little Sir Grove, II, 242.
Little Sir William, V, 241.
Little wee toorin dow, I, 498, 500; IV, 450.
Lizie (Lizae) Baillie, IV, 266.
Lizie Lindsay (No 226), IV, 255-66, 524; V, 264 f.
II, 84; V, 116.
Lizie Wan (No 51), I, 447-9.
I, 167, 168, 437, 446.
The Loch o the Loanie, I, 504.
Loch-in-var, IV, 216.
Lochinvar, Scott’s ballad, IV, 218.
The Lochmaben Harper (No 192), IV, 16-23; V, 300.
Logan Water, or, A Lover in Captivity, IV, 184 n.
The Long-armed Duke, IV, 110.
Long Lankyn, II, 320; V, 295.
Long Lonkin (Longkin), II, 320.
Lord Aboyne, IV, 351.
Lord and Lady Errol, IV, 282.
Lord Arnwaters, IV, 115.
Lord Bangwell, I, 63.
Lord Barnabas’ Lady, II, 242.
Lord Barnaby, II, 242.
Lord Barnard, II, 242.
Lord Barnett and Little Musgrave, II, 242.
Lord Bateman, II, 508.
I, 455 n.
Lord Bateman, The Loving Ballad of, I, 454.
Lord Beichan and Susie Pye, I, 454.
Lord Beichim, V, 218.
Lord Bengwill, I, 62 f.
Lord Brangwill, I, 62 f.
Lord Darlington, II, 309.
Lord Delamare (Delaware), IV, 110.
Lord Delamere (No 207), IV, 110-15.
Lord Derntwater, IV, 115.
Lord Derwentwater (No 208), IV, 115-23, 522; V, 254 f.
IV, 466.
Lord Derwentwater’s Death, IV, 115.
Lord Dingwall, I, 63 f.
Lord Donald, I, 151.
Lord Douglas, I, 88.
Lord Douglas, or, The Laird of Blackwood, IV, 90.
Lord Douglas’ Tragedy, I, 489 b, 492; IV, 445 b.
Lord Dunwaters, IV, 115.
Lord Garrick, IV, 61.
Lord Gregory, II, 213.
Lord Ingram and Chiel Wyet (No 66), II, 126-36, 511; III, 508 f.; V,
223, 292.
II, 157 n., 264.
Lord Ingram and Childe (Viat) Vyet, II, 126.
Lord Ingram and Gil Viett, II, 126.
Lord Jamie Douglas, IV, 90.
I, 437.
Lord John (==The Elfin Knight), I, 6.
Lord John (==The Broomfield Hill), I, 390.
Lord John (==Johnie Scot), II, 377.
Lord John (==Young Hunting), II, 142.
Lord John and Bird Ellen, II, 83.
Lord Johnnie Scott (Scot), II, 377, 397.
Lord John’s Murder, II, 288.
Lord Lavel, II, 204.
Lord Livingston (No 262), IV, 431-3.
II, 156.
Lord Lovel (No 75), II, 204-13, 512; III, 510; IV, 471; V, 225, 294.
I, 96; II, 200, 214, 279.
Lord Lundy (Lord William) (No 254), IV, 411-415.
Lord Maxwell’s Goodnight, IV, 34.
Lord Maxwell’s Last Goodnight (No 195), IV, 34-8; V, 251.
Lord of Learne, V, 42.
I, 455 n.; II, 510.
The Lord of Lorn and the False Steward (No 271), V, 42-58, 280 f.
V, 295.
The Lord of Lorn and the Fals Steward, A pretty ballad of, V, 42.
Lord of Lorne, V, 42.
The Lord of Lorne and the False Steward, V, 42.
Lord Randal (No 12), I, 151-66, 498-501; II, 498 f.; III, 499; IV,
449 f.; V, 208 f., 286.
I, 168, 496.
Lord Rannal, I, 498.
Lord Revel, II, 204.
Lord Robert and Mary Florence, II, 284.
Lord Ronald, my son, I, 151, 498 f.
I, 143.
Lord Roslin’s Daughter, I, 414.
Lord Salton and Auchanachie, IV, 347.
Lord Saltoun and Annachie, IV, 347.
Lord Saltoun and Auchanachie (No 239), IV, 347-50; V, 273 f.
Lord Saunders, II, 156.
Lord Soulis, Leyden’s ballad, V, 1 n.
Lord Thomas (==Lord Thomas and Fair Annet), II, 197.
Lord Thomas (==Lord Thomas and Lady Margaret), IV, 426.
Lord Thomas and Fair Annet (No 73), II, 179-99, 512; III, 509 f.;
IV, 469-71; V, 223 f., 293.
I, 54 n., 96; II, 65, 126 n., 200, 204, 240, 244, 288; III, 381;
IV, 409; V, 166.
Lord Thomas and Fair Annie, II, 63.
Lord Thomas and Fair Ellinor (Eleanor), II, 179 f., 195; III, 509;
IV, 471; V, 166.
Lord Thomas and Lady Margaret (No 260), IV, 426-9.
Lord Thomas of Winesberrie (Winsberry, Wynnesbury), II, 398; III,
517.
Lord Thomas of Winesberry and the King’s Daughter, II, 398.
Lord Thomas of Winsbury (Wynnesbury), II, 398; III, 517 b.
Lord Thomas Stuart (No 259), IV, 425 f.; V, 279.
Lord Travell, II, 204.
Lord Wa’yates and Auld Ingram, II, 126.
Lord William (==Fair Janet), II, 100.
Lord William (==Young Hunting), II, 142.
Lord William (==Lord Lundy), IV, 411.
Lord William, or, Lord Lundy (No 254), IV, 411-15.
IV, 218.
Lord Willie Douglas, II, 406.
Loudon Hill, or, Drumclog (No 205), IV, 105-7.
Loudoun Castle, III, 423.
Love Annie, IV, 391.
Love Gregory (Gregor), II, 213.
Love in Despair, IV, 105.
Love Johny, II, 377.
Love Robbie, II, 368.
The Lovely Northerne Lasse, IV, 208 f.
IV, 192.
A Lover in Captivity, IV, 184, and n.
The Lovers’ Quarrel, or, Cupid’s Triumph, II, 441, 456.
The Lover’s Riddle, V, 216 a.
Low in the Lowlands Low, V, 135.
The Lowlands Low, V, 135.
The Lowlands of Holland, II, 317; V, 229.
The Loyal Forrister, or, Royal Pastime, V, 74 n.
A Lytell Geste of Robyn Hode, III, 39, 79.
McNachton, II, 377.
McNaughtan, II, 377.
McNaughton’s Valour, II, 398.
The Maid and Fairy, V, 201 n.
The Maid and the Magpie, I, 446.
The Maid and the Palmer (The Samaritan Woman) (No 21), I, 228-33,
504; II, 501; III, 502; IV, 451; V, 212, 288.
I, 218.
The Maid freed from the Gallows (No 95), II, 346-55, 514; III, 516
f.; IV, 481 f.; V, 231-4, 296.
III, 381.
The Maid of Rygate, V, 129.
The Maid o the Cowdenknows, IV, 191.
Maiden o the Cowdenknowes, IV, 191.
The Maiden Outwitted, II, 480.
The Maidens’ Song (==The Fair Flower of Northumberland), I, 111.
The Maid’s Answer to the Knight’s Three Questions, I, 1.
The Maid’s Lamentation for the loss of her true love, V, 229.
Margaret’s Ghost, Mallet’s ballad, II, 199; V, 294.
Marie Hamilton, III, 379.
Marjorie and William, II, 226.
The Marriage of Sir Gawain (No 31), I, 288-96, 507; II, 502; IV,
454; V, 213, 289.
I, 297 f., 301, 315; II, 458.
Mary Hamilton (No 173), III, 379-99; IV, 507-13; V, 246 f., 298.
I, 436; II, 14 n., 346; IV, 30 n.
Mary Miles, III, 379.
Mary-a-Row, II, 302.
May Collean, The Historical Ballad of, I, 23 n.
May Collin (Collean), I, 22; IV, 442.
May Colven (Colvin), I, 22.
May Colvin, or, False Sir John, I, 22.
May Colvine and Fause Sir John, IV, 440 b.
May Culzean, The historical ballad of, I, 485.
May Margaret, III, 449. See The Laird o Logie.
The Mermaid (No 289), V, 148-152.
II, 19.
The Mermaid (==Clerk Colvill), I, 371.
The Merry Broomfield, or, The West Country Wager, I, 390.
The Merry Cuckold and Kind Wife, V, 88.
A Mery Geste of Robyn Hoode and of hys Lyfe, III, 39, 81.
Mild Mary, II, 309.
Mill o Tifty’s (Tiftie’s) Annie, IV, 301, 302 n.
The Miller and the King’s Daughter (Daughters), I, 118.
The Miller’s Melody, I, 118.
The Minister’s Daughter of New York, I, 218.
The Minister’s Dochter o Newarke, I, 226.
Montrose he had a poor shepherd, IV, 330 f.
Moss Groves, IV, 478.
The Mother’s Malison, or, Clyde’s Water (No 216), IV, 185-91; V,
256 f., 301.
IV, 117, 415, 471 b.
The Murder of the King of Scots, III, 399.
Musleboorrowe ffeild, III, 378.
Musselburgh Field (No 172), III, 378 f.; IV, 507.
My bonny Lizzie Baillie, IV, 266.
My lady ye shall be, V, 153.
My love Annie’s very bonny, IV, 184 a.
My love, she lives in Lincolnshire, IV, 416.
My Wee Croodling Doo, IV, 450 a.
Naughton’s Valour, II, 398.
The New Slain Knight (No 263), IV, 434 f.; V, 279.
The Noble Ffisherman, or, Robin Hoods great Prize, III, 211.
The Noble Fisherman, or, Robin Hood’s Preferment (No 148), III,
211-13.
III, 95, 208 n., 227; IV, 393.
A Noble Riddle Wisely Expounded, or, The Maid’s Answer to the
Knight’s Three Questions, I, 1.
The Norfolk Maiden, V, 129.
Norham, down by Norham, I, 493, 495.
A Northern Ballet (Ballad) (==Johnie Armstrong), III, 362.
Northumberland Betrayed by Douglas (No 176), III, 408-16; V, 299.
II, 49 n.; III, 402, 406.
Northumberland Betrayd by Dowglas, III, 408.
The Nut-Brown Bride, II, 179.
O Alva hills is bonny, fragment, V, 202, 307.
O come you from the earth she said, fragment, V, 203.
O my bonie, bonie may, IV, 330.
O saw ye my father, IV, 389.
O, the twelfth day of December, IV, 507.
Ochiltree Walls, IV, 207 b.
Of a Knight and a Fair Virgin, I, 292.
Oh, open the door, Lord Gregory, II, 213.
The Old Abbot and King Olfrey, I, 404; IV, 459.
The Old Man and his Three Sons, I, 208.
Old Robin of Portingale (No 80), II, 240-2, 513; III, 514; IV, 476;
V, 225, 286 b, 295.
Old Wichet and his Wife, V, 88.
One king’s daughter said to anither, III, 500.
Our Goodman (No 274), V, 88-95, 281, 303 f.
II, 158.
The Outlandish Knight, I, 22; V, 207 a.
The Outlaw Murray (No 305), V, 185-200, 307.
Outlaw Murray, an antient historical ballad, V, 185.
Outlaw Murray, An old song called, V, 185.
The Outlaw Murray, The Sang (Song), of, V, 185.
The Over Courteous Knight, II, 479.
A Paradox (==Captain Wedderburn’s Courtship), V, 216.
Parcy Reed, IV, 520 b.
Parcy Reed and the Three False Halls, A song of, IV, 24.
Peggie’s gane oer the seas, a’ dressed in red, V, 172.
Peggy Irvine, V, 301 f.
Perthshire Tredgey, V, 217.
The place where my love Johnny dwells, IV, 209.
The Politick Maid, II, 491. II, 480; V, 239 b.
The Politick Squire, or, The Highwaymen catch’d in their own play,
V, 129.
The Pollitick Begger-Man, V, 110, 113.
Pretty Peggy, V, 172.
The Prickly Bush, V, 233.
Prince Heathen (No 104), II, 424-6; V, 296.
Prince Robert (No 87), II, 284-7; V, 295.
I, 96.
Proud Lady Margaret (No 47), I, 425-31; IV, 460; V, 291.
I, 1; II, 156, 227; V, 203.
The Provost’s Dochter, I, 111.
Queen Eleanor’s Confession (No 156), III, 257-64; IV, 498 f.; V, 241
f., 297.
Queen Elizabeth’s Champion, or, Great Britain’s Glory, etc., V, 145.
Queen Jeanie, III, 372.
The Queen of all Sluts, The Queen of Sluts, modern “ballad,” I,
301, and n.; V, 289.
The Queen of Elfan’s Nourice (No 40), I, 358-60; II, 505 f.; III,
505 f.; IV, 459; V, 215, 290.
The Queen of England, III, 257.
The Queen of Scotland (No 301), V, 176 f.
The Queen of the Fairies, III, 504.
Queen’s Marie, III, 380.
The Queen’s Marie (Mary), III, 379; IV, 507, 513.
The Queen’s Maries (Marys), III, 379; IV, 511 f.; V, 299.
Quin Mary’s Marreys, V, 246.
The Rantan Laddy, V, 274.
The Rantin Laddie (No 240), IV, 351-5; V, 274 f. IV, 355.
Rare Willie Drowned in Yarrow, or, The Water o Gamrie (No 215), IV,
178-85; V, 256.
IV, 161.
Red-Cap, he was there, fragment, V, 203.
Redesdale and Wise William (No 246), IV, 383-6; V, 276 f.
V, 25.
Reedisdale and Wise William, IV, 383.
Renowned Robin Hood, III, 196.
Ricadoo, V, 121.
Richard Storie (Story), IV, 291.
Richie Storie (Storrie), IV, 291.
Richie Story (No 232), IV, 291-300; V, 270.
II, 441; IV, 299.
Richie Tory, IV, 291.
Richie’s (Ritchie’s) Lady, IV, 291.
A Riddle Wittily Expounded, I, 1.
Riddles Wisely Expounded (No 1), I, 1-6, 484; II, 495; III, 496; IV,
439; V, 205, 283.
The Rising in the North (No 175), III, 401-8.
II, 49 n.
Risinge in the Northe, III, 401.
Ritchie’s Tory Laddie, IV, 291.
Rob Oig, IV, 243.
Rob Roy (No 225), IV, 243-54, 523; V, 262-4.
IV, 232, 239; V, 165.
Rob Roy MacGregor, IV, 243.
Robin he’s gane to the wude, V, 104.
Robin Hood (==Henry Martyn), IV, 393.
Robin Hood and a Beggar, A pretty dialogue betwixt, III, 158.
Robin Hood and Allen a Dale (No 138), III, 172-5.
III, 49 n.
Robin Hood and Allin of Dale, III, 172.
Robin Hood and Guy of Gisborne (No 118), III, 89-94.
III, 42, 53, 95, 96, 102 n., 122, 141, 156.
Robin Hood and Little John (No 125), III, 133-6; V, 297.
III, 116, 130, 145.
Robin Hood and Maid Marian (No 150), III, 218 f., 519.
III, 130, 133 n.
Robin Hood and Queen Katherine (No 145), III, 196-205.
III, 122, 191, 194, 205, 227; V, 190.
Robin Hood and the Beggar, I (No 133), III, 155-8.
III, 116, 130, 133, 144, 178, 520.
Robin Hood and the Beggar, II (No 134), III, 158-65.
III, 130, 156, 170.
Robin Hood and the Beggar (II), The History of, III, 158.
Robin Hood and the Bishop (No 143), III, 191-3.
III, 133, and n., 144, 156, 178, 227.
Robin Hood and the Bishop of Hereford (No 144), III, 193-6.
III, 197.
Robin Hood and the Butcher (No 122), III, 115-20.
III, 108, 109, 120, 130, 133, and n., 156, 520.
Robin Hood and the Curtal Friar (No 123), III, 120-8.
III, 96, 108, 109, 126, 130, 178; V, 8, 126, 297.
Robin Hood and the Curtal Fryer, The Famous Battel between, III, 120.
Robin Hood and the Golden Arrow (No 152), III, 223-5; V, 241.
III, 133 n., 220.
Robin Hood and the Jolly Tinker, III, 143.
Robin Hood and the Monk (No 119), III, 94-101.
III, 13, 16, 42, 102, 159.
Robin Hood and the Pedlars (No 137), III, 170-2.
III, 130, 133 n., 499.
Robin Hood and the Potter (No 121), III, 108-15; IV, 497.
III, 42, 49, 90, 95, 96, 115, 130, 137.
Robin Hood and the Prince of Aragon (No 129), III, 147-50.
III, 133 n., 144 n., 145.
Robin Hood and the Proud Pedlar, V, 240.
Robin Hood and the Ranger (No 131), III, 152-4.
III, 130, 133, 168.
Robin Hood and the Scotchman (No 130), III, 150 f.
III, 130, 133, and n., 145.
Robin Hood and the Shepherd (No 135), III, 165-7.
III, 109, 130, 137, 168, 198; V, 126.
Robin Hood and the Sheriff, III, 184 f.
Robin Hood and the Stranger, III, 116, 133, and n., 144, and n., 145.
Robin Hood and the Tanner (No 126), III, 137-40.
III, 121 n., 130, 133, 144.
Robin Hood and the Tanner’s Daughter, I, 106, 109; II, 416 f.
Robin Hood and the Tinker (No 127), III, 140-3.
III, 130, 137.
Robin Hood and the Valiant Knight (No 153), III, 225 f.
III, 104, 133 n., 220, 223.
Robin Hood, John, Scarlock, and Three Keepers, III, 168.
Robin Hood newly Revived (No 128), III, 144-7.
III, 133, and n., 137, 147, 150, 154, 214.
Robin Hood rescuing the Three Squires from Nottingham Gallows, III,
177.
Robin Hood rescuing the Widow’s Three Sons from the Sheriff, when
going to be executed, III, 177.
Robin Hood rescuing Three Squires (No 140), III, 177-85.
III, 122, and n., 156, 185, 188, 363 n.; V, 8, 126.
Robin Hood rescuing Will Stutly (No 141), III, 185-7; IV, 497.
III, 16, 198.
Robin Hood, Scarlet and John, III, 196.
Robin Hood, Will. Scadlock and Little John, III, 147.
III, 144 n., 145.
Robin Hood’s Birth, Breeding, Valor and Marriage (No 149), III,
214-17.
III, 159, 197.
Robin Hood’s Chase (No 146), III, 205-7.
III, 133, 198.
Robin Hood’s Death (No. 120), III, 102-7; V, 240, 297.
I, 274 n.; II, 499; III, 42, 49, 96.
Robin Hood’s Death and Burial, III, 102-7.
I, 185, 436; III, 107.
Robin Hood’s Delight (No 136), III, 168-70.
III, 130, 154, 170.
Robin Hood’s Golden Prize (No 147), III, 208-10, 519.
III, 122.
Robin Hood’s Great Prize, III, 211.
Robin Hood’s Preferment. See The Noble Fisherman (No 148).
Robin Hood’s Progress to Nottingham (No 139), III, 175-7.
III, 49, 133, and n., 168, 198, 208.
Robin Oigg’s Elopement, IV, 523.
Robin, the Kitchie-Boy, V, 29.
Robine Hood and Ffryer Tucke, III, 120.
III, 122.
Robine Hoode his Death, III, 102.
Robyn and Gandeleyn (No 115), III, 12-14.
Rookhope Ryde (No 179), III, 439-41.
The Rose o Malindie, O, I, 218.
The Rose of England (No 166), III, 331-3.
III, 294.
Rose the Red and White Lilly (Lillie), II, 415.
Rose the Red and White Lily (No 103), II, 415-24.
I, 182; II, 368, 407, 412, 499.
The Roses grow sweet aye, I, 496 f.
Rosie Ann, I, 447.
Roudesdales, IV, 383.
The Royal Frolick, or, King William and his Nobles’ Entertainment
at the Farmer’s House, V, 74, and n.
The Royal Recreation (Second Part of The Royal Frolick, etc.), V,
74, and n.
Saddle to Rags, V, 128.
The Sailor’s Caution, V, 148.
The Sailor’s Joy, V, 133 n.
St. Stephen and Herod (No 22), I, 233-42, 505 f.; II, 501; III, 502
f.; IV, 451 f.; V, 212, 288.
The Samaritan Woman. See The Maid and the Palmer.
Saw you my Father? (No 248). See The Grey Cock.
Scarborough Fair, II, 495 f.; IV, 440; V, 206.
(Cf. I, 17, 484 f.)
The Scotchman Outwitted, II, 483.
Scotish Field, ballad of, III, 307, 352, 354 n.
The Scottish Squire, II, 355.
The Seamans (Saylors) only Delight: Shewing the brave fight between
(the) George Aloe, the Sweepstakes (Sweepstake), and certain
French men at sea, V, 134 f.
The Seaman’s Sorrowful Bride, V, 229.
The Seamen’s Distress, V, 148.
The Seamen’s Song of Captain Ward, V, 143.
The Seamen’s Song of Dansekar, V, 143.
The Seven Bluidy Brithers, II, 156.
Seven pretty sisters dwell in a bower, V, 207.
The Seven Sisters, or, The Leaves of Lind, I, 63.
She cares not for her daddy, V, 201.
She’ll no ly neist [the] wa, I, 414.
Sheath and Knife (No 16), I, 185-7; II, 499; III, 500 f.; IV, 450; V,
210.
I, 178.
The Shepherd and the King, V, 73.
The Shepherd’s Bonny Lassy, V, 116.
The Shepherd’s Boy, IV, 495.
The Shepherd’s Daughter, II, 457.
Shepherd’s Dochter, II, 457.
The Shepherd’s Son, II, 479; IV, 495 a.
The Shipherd Boy, V, 116.
The Silly Old Man, V, 128.
Sir Aldingar (No 59), II, 33-48, 510; III, 508; IV, 463; V, 292.
II, 50.
Sir Andraye Barton, Knight, The Sonnge of, IV, 502.
Sir Andrew Barton (No 167), III, 334-50; IV, 502-7; V, 245.
I, 54 n.; IV, 393; V, 143, 302.
Sir Andrew Barton, The Life and Death of, III, 334, 346 f.
Sir Andrew (Andro) Wood, II, 17.
Sir Cawline (No 61), II, 56-63, 511; III, 508; IV, 463.
Sir Colin, II, 61.
Sir Hew, or, The Jew’s Daughter, III, 233.
Sir Hugh, III, 233.
Sir Hugh, or, the Jew’s Daughter (No 155), III, 233-54, 519 f.; IV,
497 f.; V, 241, 297.
Sir Hugh in the Grime’s Downfall, IV, 8, 15.
Sir Hugh le Blond, II, 33.
Sir Hugh the Graeme, IV, 8.
Sir James the Rose (No 213), IV, 155-60.
IV, 150; V, 245.
Sir James the Ross (de Ross), IV, 159 a.
Sir John Butler (No 165), III, 327-330.
Sir Lionel (No 18), I, 208-15; II, 500; IV, 451, I, 274 n.
Sir Patrick, II, 17.
Sir Patrick Spence (Spensse), II, 17.
Sir Patrick Spens (No 58), II, 17-32, 510; V, 220.
I, 35 n.; II, 13 n., 113 n.; IV, 376, and n.; V, 148.
Sir Robert Bewick and the Laird Graham, A Remarkable and Memorable
Song (History) of, IV, 144, 148 f.
Sir Thamas (==Erlinton), I, 111.
Sir Walter Raleigh sailing in the Low-lands, etc., V, 135, 139.
Sir William Stanley, I, 463.
Sir William Wallace, III, 265.
Sir William Wallace killed thirty Englishmen, An old song shewing
how, V, 242 f.
Sir William Wallace, On an honorable achievement of, near Falkirk,
III, 265.
Sister, dear Sister, I, 118.
Skipper Patrick, II, 17.
The Slaughter of the Laird of Mellerstain (No 230), IV, 281 f.
IV, 371.
Sleepest or wakest thou, jolly shepheard? fragment, V, 201 b.
The Sleepy Merchant, I, 393.
The Soldier and Peggy, V, 172.
The Sorrowful Lover’s Regrate, or, The Low-Lands of Holland, V, 229.
The Stirrup of Northumberland, V, 207 b, title due to a misreading
of Scott’s hand (should be _Heiress_).
The stormy winds do blow, V, 148.
The Suffolk Miracle (No 272), V, 58-67, 303.
V, 225.
Susan Py, or, Young Bichen’s Garland, I, 454, 483 b.
Susan Pye and Lord Beichan, I, 454.
Susie Cleland, II, 112.
The Swain’s Resolve, IV, 389.
The swan swims bonnie, O, I, 118.
Sweet Robin, V, 104.
The Sweet Trinity (The Golden Vanity) (No 286), V, 135-42, 305.
Sweet William, IV, 411.
II, 101, 112 n., 113 n., 356.
Sweet William and May Margaret (==Sweet William’s Ghost), II, 226.
Sweet William and the Young Colonel, II, 288.
Sweet William’s Ghost (No 77), II, 226-34, 512; IV, 474; V, 225, 294.
I, 435; II, 156, 174, 204, 234, 240; IV, 390, 415; V, 60 n., 166.
Sweet Willie (==Fair Janet), II, 100.
Sweet Willie (==The Famous Flower of Serving-Men), II, 428.
Sweet Willie and Fair Annie (==Lord Thomas and Fair Annet), II, 100,
179.
Sweet Willie and Fair Maisry (==Fair Janet), II, 100.
Sweet Willie and Lady Margerie (==Willie and Lady Maisry), II, 167.
Sweet Willie and May Margaret (==The Mother’s Malison), IV, 185.
Sweet Willie of Salisbury, II, 399.
Sweet Willy (==Willie’s Lady), I, 81.
Tam Lin (No 39), I, 335-58, 507 f.; II, 505; III, 504 f.; IV,
455-9; V, 215, 290.
I, 308, 320 n., 360 n., 446, 450; III, 381; IV, 186 n.; V, 11 n.,
40 n., 223.
Tam-a-lin, or, The Knight of Faerylande, I, 335.
Tam-a-line, the Elfin Knight, I, 335.
Tamlane, I, 507; IV, 458 a.
I, 256.
There livd a knight in Jesuitmont, V, 34 n.
There livd a wife in the wilds of Kent, IV, 439 a.
There was a jovial beggar, V, 113 n.
There was a knight in Jessamy, V, 34 n.
There was a knight was drunk with wine, II, 491.
There was a wife in yon town, V, 109.
There waur three ladies, I, 141.
There were aucht an forty nobles, IV, 338.
Ther wer three ravens, IV, 454.
There were three sisters going from home, III, 500.
The Thief Outwitted, V, 128.
Thomalyn, a ballett of, I, 336.
Thomas Cromwell (No 171), III, 377.
Thomas of Potte, II, 441.
Thomas o Yonderdale (No 253), IV, 409-11.
II, 69.
Thomas Rymer (No 37), I, 317-29; II, 505; III, 504; IV, 454 f.; V,
290.
I, 330, 358; IV, 458.
Thomas Rymer and Queen of Elfland, I, 317.
Thomas the Rhymer, IV, 454.
The Three Brothers, III, 484.
The Three Knights, I, 141.
The Three Ravens (No 26), I, 253 f.; IV, 454; V, 212.
II, 429.
The Three Sisters (==Riddles Wisely Expounded), I, 1.
The Three Sisters (==The Twa Sisters), I, 118.
The Thyme Song, V, 258.
Tifty’s Nanny, IV, 300.
The Tinker and Farmer’s Daughter’s Garland, V, 109.
Tiranti, my Son, I, 151.
Tom Linn, I, 335.
Tom Potts (No 109), II, 441-56; III, 518.
III, 276.
Tomaline, I, 335.
Tring Dilly, II, 432.
The Trooper, V, 172.
The Trooper and Fair Maid, V, 172.
I, 437.
Trooper and Maid (No 299), V, 172-4, 306.
The Trooper Lad, V, 306 f.
True Love Requited, or, The Bayliff’s Daughter of Islington, II, 428.
A True Tale of Robin Hood (No 154), III, 227-33.
III, 103, 220, 223.
True Tammas (==Erlinton), I, 106.
True Thomas and the Queen of Elfland, I, 317.
The Trumpeter of Fyvie, IV, 300.
The Tryal of the Laird of Gycht, IV, 309 n.
The Turkish Galley, V, 135.
The Turkish Lady, I, 463.
The Turkish Lady and the English Slave, I, 463.
The Twa Brithers, I, 435.
The Twa Brothers (No 49), I, 435-44; II, 507; III, 507; IV, 460; V,
217 f.
I, 167, 168, and n., 446, 448; II, 14 n., 137, 234, 288; III, 381;
V, 291.
The Twa Brothers, or, The Wood o Warslin, I, 435.
The Twa Corbies, I, 253; IV, 454.
The Twa Knights (No 268), V, 21-28.
I, 67; IV, 383; V, 277.
The Twa Magicians (No 44), I, 399-403; II, 506; III, 506 f.; IV,
459; V, 216.
The Twa Sisters (No 10), I, 118-41, 493-6; II, 498, 509; III, 499;
IV, 447-9; V, 208, 286.
I, 40 n.
’Twas on a Christmas Day, V, 95.
The Two Brothers, I, 435; IV, 460.
The Two Constant Lovers in Scotland, II, 441, 456.
The Unco Knicht’s Wowing, I, 1.
The Unfortunate Forrester, or, Fair Eleanor’s Tragedy, II, 180;
III, 509 b.
The Ungrateful Knight and the Fair Flower of Northumberland, I, 111.
The Unquiet Grave (No 78), II, 234-8, 512; III, 512 f.; IV, 474-6;
V, 225, 294.
V, 116.
Wakefylde and a grene, A ballett of, III, 129.
The Wakerife Mammy, IV, 389.
Wallace and his Leman, II, 513; III, 265.
Walter Lesly (No 296), V, 168 f.
Warenston and the Duke of York’s Daughter, II, 346.
A Warning for Maidens, or, Young Bateman, I, 455.
A Warning for Married Women, etc., IV, 360.
A Warning-Piece to England against Pride and Wickedness, etc.,
III, 257.
The Water o Gamrie (Gemrie, Gamery), IV, 178.
See Rare Willie Drowned in Yarrow.
The Water o Wearie’s Well (Wells), I, 22.
A Waukrife Minnie, IV, 389.
We were sisters, we were seven, I, 62.
The Weary Coble o Cargill, IV, 358.
II, 156.
The Weary Heir of Linne, V, 11.
The Wedding of Robin Hood and Little John, II, 415.
Wee Messgrove, II, 242.
The Wee Wee Man (No 38), I, 329-34.
I, 335.
The West-Country Damosel’s Complaint (No 292), V, 157-9.
The West-Country Wager, I, 390.
The Western Tragedy, I, 23 n.
What a bad luck had I (==The Queen of all Sluts), I, 301 n.
The White Fisher (No 264), IV, 435-7.
Whittingham Fair, II, 495; V, 206.
The Whummil Bore (No 27), I, 255; V, 212.
I, 187; V, 203.
The Widdow-Woman, III, 513.
The Wife of Usher’s Well (No 79), II, 238 f.; III, 513 f.; V, 294 f.
II, 173.
The Wife Wrapt in Wether’s Skin (No 277), V, 104-7, 304 f.
Will Stewart and John (No 107), II, 432-8; V, 237.
Will ye go to the Hielans, Geordie? IV, 123.
William and Marjorie, II, 226.
William Clowdisley, A ballad of, neuer printed before, III, 34.
William Grismond’s Downfal, II, 16.
William Guiseman, II, 16.
Willie and Annet, II, 100.
Willie and Earl Richard’s Daughter (No 102), II, 412-15; III, 518.
II, 296, 303, 406, 499.
Willie and Janet, II, 100.
Willie and Lady Maisry (No 70), II, 167-9.
II, 240, 244.
Willie and Margaret, IV, 185.
Willie and May Margaret, IV, 185.
I, 372, 435.
Willie Doo, I, 151; IV, 450 a.
Willie Macintosh (No 183), III, 456 f.; IV, 516.
Willie o Douglas Dale (No 101), II, 406-11; III, 517; V, 235-7.
II, 368, 377, 412, 416.
Willie of Duglass Daill, V, 235.
Willie of Winsberye, II, 398.
Willie O Winsbury (No 100), II, 398-406, 514 f.; III, 517; IV, 491;
V, 296.
II, 377, 406; V, 29.
Willie, the Kitchie-Boy, IV, 400.
Willie, the Widow’s Son, II, 167.
Willie Wallace, III, 265.
Willie’s drowned in Gamery, IV, 178.
Willie’s Fatal Visit (No 255), IV, 415f.
II, 406, 513; IV, 389.
Willie’s Lady (No. 6), I, 81-8; II, 498; III, 497; V, 207, 285.
I, 67.
Willie’s Lyke-Wake (No 25), I, 247-52, 506 f.; II, 502; III, 503; IV,
453; V, 212, 289.
II, 356.
Willy’s rare and Willy’s fare, IV, 178.
IV, 163.
Wilson, III, 496.
The Wind hath blown my Plaid away, or, A Discourse betwixt a young
[Wo]man and the Elphin Knight, a proper new ballad entituled,
I, 6.
The Wind hath blown my Plaid awa, or, A Discourse between a Young
Woman and the Elphin Knight, I, 6, 20.
The Winsome Laird of Young Logie, IV, 516.
With that came out his paramour, fragment, V, 202.
The witty lass of Somersetshire, or, The fryer servd in his kind,
V, 100.
The Wofull Death of Queene Jane, wife to King Henry the Eight,
etc., III, 372.
The Wood o Warslin, I, 435.
The Wylie Wife of the Hie Toun Hie (No 290), V, 153-6.
The Yerle o Aboyne, V, 271.
The Yetts of Gowrie, IV, 160.
Yorkshire Bite, V, 129.
The Yorkshire Farmer, V, 128.
Young Airly, IV, 54.
Young Akin, I, 360.
Young Allan (No 245), IV, 375-83; V, 275 f.
II, 17, 19 n.
Young Andrew (No 48), I, 432-4.
I, 113.
Young Annochie, IV, 347.
Young Beachen, V, 218.
Young Bearwell (No 302), V, 178 f.
Young Beichan (No 53), I, 454-83; II, 508 f.; III, 507; IV, 460-2; V,
218-20, 291.
I, 67, 279 n.; II, 127, 204; III, 498, 514; IV, 5, 409.
Young Beichan and Susie Pye, I, 454.
Young Bekie, I, 454; V, 218.
Young Benjie (No 86), II, 281-3; IV, 478 f.
Young Betrice, II, 377.
Young Bicham, I, 454.
Young Bichen, I, 455 n.
Young Bichen’s Garland, I, 454, 483 b.
Young Bondwell, I, 454.
Young Brechin, I, 454.
Younge Cloudeslee, III, 34.
The Young Earl of Essex’s Victory over the Emperor of Germany (No
288), V, 145-8.
Young Edward, V, 305.
Young Hastings, I, 360.
Young Hastings, the Groom, I, 360.
The Young Heir of Baleichan (Baleighan), IV, 156 n.
Young Hunting (No 68), II, 142-55, 512; III, 509; IV, 468; V, 223.
II, 137, 406, 407; IV, 39.
Young Hyn Horn (Hynhorn, Hyndhorn), I, 187, 502.
Young Hyndford, III, 509 a.
Young Johnstone (No 88), II, 288-95.
The Young Laird o Keltic, V, 153.
The Young Laird of Ochiltree, III, 449.
Young Logie, III, 449, 520; V, 299 f.
Young Lundie was in Brechin born, I, 455 n.
The Young MacLean, IV, 270.
Young Musgrave, II, 242.
Young Patrick, II, 17.
Young Peggy (No 298), V, 171.
Young Prince James, II, 112.
Young Ratcliffe, IV, 116.
Young Redin (Riedan), II, 142.
Young Ronald (No 304), V, 181-4.
(The) Young Tam Lane (Tamlane), I, 335, 507.
Young Tamlin, I, 335.
Young Tolquhon, IV, 48 f.
Young Tom Line, I, 335, 356 a.
Young Waters (No 94), II, 342-6; III, 516.
Albanian.
Βαλα ἐ Ἐγγιελινες, La ballata di Angelina, I, 97.
Garentina, V, 65.
Κοσταντίνι ἰ βόγελιθ, Costantino il piccolo, I, 198 f., 502 b.
Catalan.
La adúltera castigada, II, 158.
La boda interrumpida, I, 462.
Las bodas, V, 293.
La bona viuda, I, 384.
Catarina de Lió, I, 144, 496 b.
La cautiva, II, 347.
El Conde Arnau, V, 286.
Don Joan y Don Ramon, I, 382 n., 384 f.
La donzella, II, 347.
Las dos germanas, hermanas, II, 69, and n.
Los dos hermanos, V, 285.
La esquerpa, I, 400.
Los estudians de Tortosa, II, 174.
Los estudiantes de Tolosa, II, 174.
La Fugida á Egipte, III, 507 b.
El guerrero mal herido, I, 385.
Herodes, II, 7.
L’infanta, II, 113.
La infanta seducida, II, 113, 406.
Magdalena, I, 504 b.
El mal rico, II, 10.
La mort de la nuvia, II, 206.
El peregrino, II, 427.
El poder del canto, II, 137, 511 b.
Lo rescat, II, 347.
Lo retorn soptat, II, 158.
Lo Rey Herodes, II, 7.
El Rey marinero, II, 137.
El romero, I, 236.
El romero acusado de robo, I, 236, 505 a.
S. Jaume de Galicia, I, 236.
Santa Magdalena, I, 231; III, 502 b.
El testamento de Amelia, I, 144, 496 b.
La tornada del pelegrí, II, 427.
Las transformaciones, I, 400.
La trapassera, V, 91.
Trato feroz, I, 496 b.
Los tres estudiantes, II, 174.
La viuda, I, 384.
La vuelta del peregrino, II, 427.
Celtic. Breton.
Ann Aotro ar C’hont, Le seigneur Comte, I, 378 f.
Ann Aotro Nann, Le seigneur Nann, I, 379.
Ann Aotro Rosmadek, Le seigneur de Rosmadek, I, 436.
Ann hini oa et da welet he vestrez d’ann ifern, Celui qui alla voir
sa maîtresse en enfer, I, 426.
Aotrou Nann hag ar Gorrigan, Le seigneur Nann et la Fée, I, 379, 387,
490.
Ar breur mager, Le frère de lait (ballad of Villemarqué’s), V, 65.
Ar C’hont a Weto, Le Comte de Wéto (Le Comte de Poitou), IV, 464 a
(II, 102).
Ar C’homt Gwillou, Le Comte Guillou, II, 102; IV, 464 a; V, 292.
Cloaregic ar stanc, Le jeune Cloarec du bord de l’étang, IV, 471 b.
Ervoan Camus, Yves Camus, IV, 522 a.
Ervoanik al lintier, Ervoanik le lintier, I, 144.
Fillorez ann Aotrou Gwesklen, La filleule de du Guesclin, I, 45.
Floc’h Loeiz Trizek, Le page de Louis XIII, I, 381.
Ar Géant Lizandré, Le Géant Lizandré, Le Géant Les Aubrays, II,
378 f.
Itroun Varia Folgoat, Notre Dame du Folgoat, I, 237.
Janedik ar Rouz, Jeanne Le Roux, I, 45.
Komt ar Chapel, Le Comte des Chapelles, I, 379 n., 381.
Lezobre ha Maurian ar Roue, Les Aubrays et le More du Roi, II, 378 f.
Lézobré, II, 378; IV, 486 a.
Marc’harit Lauranz, Marguerite Laurent, I, 237.
Marivonnik, Marivonnic, I, 45; IV, 441 b.
Markiz Trede, Le Marquis de Coatredrez, I, 45.
Monsieur Nann, I, 379.
Ar plac’h hi daou bried, La femme aux deux maris, V, 65.
Ar plac’hik hag ine hi mamm, La jeune fille et l’âme de sa mère,
II, 236; V, 303.
Pontplancoat, I, 144; II, 309.
Prinses ar Gwillou, La Princesse le Guillou, II, 102; V, 292.
Renea ar Glaz, Renée le Glaz, I, 144.
Ar Rosmadek ha Baron Huet, Rosmadec et le Baron Huet, I, 436.
Rozmelchon, I, 45.
Le sône de la fiancée, II, 506 a.
Sonen Gertrud guet hi vam, Chant de Gertrude et de sa mère, I, 379;
III, 506 a.
Breton ballads cited without titles: I, 97; III, 498 b; IV, 443 b,
495 a; V, 234 a.
Celtic. Gaelic.
Collun gun cheann, or, The Headless Trunk, I, 298.
The Death of Diarmaid, I, 8.
How Fingal got Graine to be his wife, and she went away with
Diarmaid, I, 8.
Neyn a wrata inn, The Maid of the White Mantle, I, 261, and n.; V,
289.
Celtic. Welsh.
Marchog Glas, or, Green Knight, III, 178.
Danish.
Aage og Else, II, 227.
Adelbrand, I, 143; III, 499; IV, 449.
Den afhugne Haand, II, 373.
Agnete i Bjærget, I, 361 f.; IV, 459.
Agnete i Havet, IV, 459 a.
Agnete og Bjærgmanden, I, 364 n.
Agnete og Havmanden, I, 364; III, 506 a; IV, 459 a; V, 215 b.
Albred Lykke, II, 137.
Angenede og Havmanden, III, 506.
Axel og Walborg, V, 287.
Barnefødsel i Lunden, IV, 450 a; V, 209 b.
Barnemordersken, I, 218 f.; III, 502 a; IV, 451 a.
Barselkvinden, I, 82; III, 497 b; V, 207 b.
Bjærgjomfruens Frieri, III, 504; V, 214.
Bolde Hr. Nilaus’ Løn, I, 66, 178, 180.
Brodermordet, I, 168.
Brud i Vaande, I, 65; II, 127.
Brud ikke Mø, I, 64; IV, 442 b.
Den dyre Kaabe, II, 482; IV, 495 a.
Ebbe Galt (Hr. Tidemand), I, 446; II, 458; IV, 492.
Ebbe Skammelsøn, II, 128; V, 292 f.
Ebbe Tygesen, I, 382 n. Ebbe Tygesøns Dødsridt, V, 290.
Ellen henter sin Fæstemand, I, 459; IV, 460 b.
Den elskedes Død, II, 205; III, 510 b; IV, 471 b; V, 225 a.
Elvedansen, IV, 459; V, 216.
Elvehøj, II, 137.
Elveskud, I, 314, 374-378, 437, 496; II, 143; IV, 459 a; V, 216 a,
284, 290.
Esben og Malfred, II, 310.
Den farlige Jomfru, I, 89, 93, 417 n.; II, 51.
Folke Lovmandsøn og Dronning Helvig, II, 342.
Den forgivne Datter, V, 286.
Den forgivne Søster, IV, 449 b.
Den forstilte Vaagestue, I, 248.
Den fortryllende Sang, II, 137.
Fostermoder, I, 82.
Den Fredløse, I, 112; II, 85.
Frillens Hævn, I, 143, 378 n.; II, 143.
Fru Gundela, I, 156; V, 286.
Fru Gunder i Spire, II, 34, and n.
Fru Silleve (Kristensen), V, 8, 280.
Frændehævn, I, 27 n., 392; III, 367.
Den fule Bondedreng, II, 137.
Fæstemanden i Graven, II, 227.
Germand Gladensvend, II, 13 n.
Giftblandersken, V, 286.
Greve Genselin, I, 298, and n., 301.
Greven og lille Lise, III, 510 b; IV, 471 b; V, 225 a.
Grevens Datter af Vendel, II, 68 n.
Guldsmedens Datter, I, 54 n., 64 n., 66.
Gøde og Hillelille, IV, 471.
Harpens Kraft, I, 435; II, 137; IV, 441 a, 451 a; V, 211 b.
Hellig-Olavs Væddefart, IV, 377.
Henrik af Brunsvig, I, 194 n., 195.
Hr. Adelbrand, I, 143; IV, 449 a.
Hr. Adelbrant og Jomfru Lindelil, III, 499.
Hr. Essendal, IV, 218.
Herr Find og Vendelrod, I, 65; II, 511 b.
Hr. Grönnevold, III, 508 b.
Herr Helmer Blaa, I, 142; IV, 164.
Herr Hjælm, I, 94 n.; IV, 164, 469 a.
Herr Jon som Fugl, V, 39.
Herr Lave og Herr Iver Blaa, V, 25.
Herr Lave og Herr Jon, II, 511 b.
Herr Lovmand, I, 193, 502 a; III, 501 a; IV, 450 b.
Herr Lovmand og Herr Thor, I, 193.
Herr Magnus og Bjærgtrolden, I, 314.
Hr. Magnuses Dødsridt, V, 290.
Herr Medelvold, I, 182.
Hr. Mortens Klosterrov, IV, 453 b.
Herr Olufs Død, I, 378 n.
Herr Peder og hans Søster, I, 447.
Herr Peder og Liden Malfred, II, 310.
Hr. Peder og Mettelille, I, 142.
Herr Peders Hustru, IV, 442 b.
Herr Peders Kjæreste, IV, 471 b.
Herr Peders Slegfred, II, 180.
Hr. Peters Stalddreng, III, 508 b.
Hr. Ribolt, III, 498 a; V, 207 b.
Herr Samsings Nattergale, I, 64.
Herr Thors Børn, I, 171.
Hr. Tidemand (Ebbe Galt), I, 446; II, 458; IV, 492.
Hr. Truelses Døttre, I, 171; IV, 450 a; V, 209 b, 287.
Herr Tures Døtre, IV, 450 a; V, 209 b.
Hr. Tønne af Alsø, II, 137.
Hertug Frydenborg, V, 31, 207.
Hertugen af Skage, I, 249.
Hildebrand og Hilde, I, 66, 89-93, 99, 180; III, 498 a.
Holger Danske og Burmand, II, 50.
Det (de) hurtige Svar, II, 158; IV, 468 a.
Hustru og Mands Moder (Fostermoder, Stifmoder), I, 82, 143; III, 367
n., 497 b.
Hustru og Slegfred, I, 82 f.
Hyrde og Ridderfrue, V, 292.
Hævnersværdet, I, 96; III, 367.
I Dølgsmål, III, 502 a.
I Rosenlund, II, 482.
Ildprøven, II, 113.
Ingefred og Gudrune, I, 64.
Ingelilles Bryllup, I, 65, 67.
Iver Hr. Jonsøn, I, 66.
Iver Lang og hans Søster, I, 142.
Jesusbarnet, Stefan og Herodes, I, 233 f.
Jomfru Ellensborg og Hr. Olof, I, 142.
Jomfru Giselmaar, I, 142.
Jomfru i Hindeham, IV, 450.
Jomfru og Stalddreng, II, 84, 430; III, 508 b; IV, 463 b.
Jomfrue Ellensborg, I, 459.
Jomfruen i Bjærget, V, 215.
Jomfruen i Hindeham, I, 178.
Jomfruen i Linden, I, 307; III, 504 a; IV, 454 a.
Jomfruen i Ormeham, I, 307.
Jomfruen i Skoven, I, 142; II, 170; IV, 164.
Jomfruen og Dværgekongen, I, 361-4, 375 n.; III, 506 a; IV, 459 a; V,
215 b.
Jomfruen og Dværgen, III, 506.
Jomfruens Brødre, II, 170; III, 509; IV, 469 a; V, 223.
Jomfruens Harpeslæt, I, 66.
Jomfruens Udløsning, III, 516 b.
Jon Rimaardsens Sejlads, IV, 463.
Jon Rimaardssøns Skriftemaal, II, 13.
Karl Grevens søn, III, 429.
Karl Hittebarn, V, 223 b.
Kjærestens Død, III, 510 b.
Kjærligheds Styrke, II, 170.
Klosterranet, I, 247 f., 249.
Kong David og Solfager, V, 8, 280.
Kong Valdemar og haus Søster, I, 143; II, 101, 157; IV, 464 a.
Kvindelist, II, 356.
Kvindemorderen, I, 26, 90, 112 n., 362 n.; II, 85; III, 497 a; IV,
440 b; V, 206 b.
Kællingen til Barsel, I, 298 n.
Liden Ellen og hendes Broder, I, 447.
Liden Engel, II, 298; III, 430, 515 b; IV, 479 b.
Liden Grimmer og Hjelmer Kamp, II, 57.
Liden Kirsten som Stalddreng, III, 508 b.
Liden Kirstins Dans, I, 66; IV, 214.
Liden Malfreds Vise, II, 310.
Lille Lise, V, 225 a.
Lille Villum, II, 297.
Limgrises Vise, I, 210.
Lindormen, I, 298, 307, 314; IV, 454.
Livsvandet, V, 34.
Lodkastningen, II, 13.
Magnus Algotsøn, II, 127; IV, 218.
Malfred og Sadelmand (Sallemand), II, 458 n.; IV, 193, 492 b.
Malfreds Død, II, 310; III, 515 b.
Maria Magdalena, I, 228-30.
Mimering, II, 34 n.
Den mislykkede Flugt, III, 498.
Moderen under Mulde, V, 203.
Møen paa Baalet, I, 143; II, 113.
Munken i Vaande, V, 101.
Nattergalen, I, 316, 336, 340; V, 215.
Nævnet til Døde, IV, 443; V, 207.
Nøkkens Svig, I, 23 n., 27 n., 362 n.; IV, 441.
Oluf og Ellinsborg, I, 65.
Den onde Svigermoder, V, 208 b.
Orm Ungersvend og Bermer Rise, II, 35 n., 49 f., 57.
Peder og Malfred, I, 65; III, 497; IV, 442 b.
Ravengaard og Memering, I, 49; II, 34 ff.
Redselille og Medevold, I, 33 n., 50 n., 66, 178-80, 182, 382 n.;
III, 500 b.
Den rette Brudgom, IV, 442 b.
Ribold og Guldborg, I, 27 n., 32 n., 50 n., 88-93, 94 n., 99, 106,
112 n., 144, 178, 180, 378 n.; II, 85, 170 n.; III, 498 a; IV,
443 a.
Ridder Oles Lud, V, 25 n.
Ridderen i Fugleham, V, 39.
Ridderens Hjærte, V, 31.
Ridderens Runeslag, V, 25 n.
Rosenelle og Hr. Agervold, III, 500 b.
Rosenelle og Hr. Medervold, III, 500 b.
Rosmer, I, 47.
Den saarede Jomfru, I, 143.
Samson, I, 50 n.
St. Jorgen og Dragen, III, 294.
Sankt Steffan, I, 234.
Sejladsen, II, 13; V, 220 a.
Signild og hendes Broder, III, 122.
Skjøn Anna, II, 65; V, 220 b.
Skjøn Medler, IV, 450 a.
Slegfred og Brud, II, 69.
Stalbroders Kvide, I, 179 f.
Stifmoder, I, 82.
Stjærnevisen, V, 212.
Stolt Ellen henter sin Fæstemand, I, 459; IV, 460 b.
Stolt Ellensborg, I, 459.
Stolt Hedelil, III, 498 a.
Stolten Hellelille, II, 205 n.; IV, 471 b.
Store Fordringer, I, 7; III, 496; IV, 439 a; V, 205 b.
Svend af Vollersløv, IV, 479 b.
Svend i Rosensgaard, I, 168; III, 499 b; V, 287.
Svend Ranild, IV, 377.
Svend Vonved, I, 2 n., 405 n., 437.
Synderinden, I, 228; III, 502 b; IV, 451 b.
Sønnens Sorg, I, 66, 179, 180, 182.
Søvnerunerne, I, 391.
De talende Strenge, IV, 447.
Den talende Strengeleg, I, 119; III, 499 a; IV, 447 b.
Thors Hammer, I, 298.
Tord af Havsgaard, I, 298, and n.
Torkild Trundesøn, I, 67.
Den trofaste Jomfru, I, 27 n., 90, 112; II, 85.
Trolden og Bondens Hustru, I, 307.
Troskabsprøven, IV, 434.
Tule Slet, Ove Knar, og Fru Magnild, V, 286.
Tærningspillet, II, 458; IV, 492.
Den ulige Kamp, V, 223.
Umulige Fordringer, V, 205.
Ung Villum, II, 297 f., 513 b; IV, 479 b.
Unge Hr. Tor og Jomfru Tore, I, 193.
Ungen Essendal, IV, 218.
Utro Fæstemø vil forgive sin Fæstemand, V, 286, 295.
Vaagestuen, I, 249; III, 503 a.
Verkel Vejemandsøn, II, 281.
Vise om Caroline Mathilde, V, 297.
Vold og Mord, II, 297.
Væddemaalet, V, 25, 277.
Dutch, Flemish, and Frisian.
Brandenborch, Van, V, 31 f.
Brennenberg, V, 31 f., 223.
Brunenborch, V, 32.
Halewijn, I, 24; II, 496 b; V, 285.
Halewyn en het kleyne Kind, I, 25 n.; IV, 440 b.
Den Hertog van Brunswyk (Heinrich der Löwe), I, 195.
Isabella, I, 154.
Jan Alberts, I, 485 b.
De kreupele Bedelaer (Ein schöner Krüppel), V, 110.
Een Liedeken van den Heere van Haelewyn, V, 285.
Een Liedeken van Sint Jacob, I, 236.
List der Bedrukte, II, 483.
Madel, II, 66, 67.
Die Mâeget, I, 394.
Des Markgraven Zoon, I, 38.
Mi Adel en Hir Alewijn, I, 26 n.
Mijn Man komt thuis, V, 88.
Mijnheerken van Bruindergestem, IV, 440 b.
Mooi Aeltje en Koning Alewijn, II, 66.
Roland, I, 25, 26 n., 54.
De Ruiter en Mooi Elsje, I, 181.
Schön Adelheid, II, 66.
Ein schöner Krüppel, De kreupele Bedelaer, V, 110.
Skuin over de Groenelands Heide, III, 502 b.
Van Brandenborch, V, 31 f.
Van Heer Halewijn, V, 285.
Van den Hertog van Brunswijk, I, 195.
Van Mijnheerken van Bruindergestem, IV, 440 b.
De Vlucht naar Egypten, II, 1, 7.
Esthonian (see also Finnish).
Anne läeb meiltä sõdaje, V, 232 a.
Armuta omaksed, Heartless Kinsfolk, V, 232 a.
Die Ausgelöste, II, 349.
See The Maid freed from the Gallows.
Die Harfe, I, 124.
Kallewisohnes Tod, I, 46.
Lilla lunastamini, V, 231 b.
The Maid freed from the Gallows, Finnish and Esthonian versions,
II, 349; IV, 482 a; V, 231-3.
Orja laul, V, 220 a.
Esthonian ballads cited without titles: V, 225 a, 231-3.
Färöe.
Arngríms Synir, II, 50, and n.
Ásmundur Skeinkjari, I, 281 n.
Ebbin kall, IV, 492 b.
Faðir og dóttir, II, 157; III, 509 a; IV, 468 a.
Frísa vísa, II, 347; III, 516.
Galians kvæði, I, 257 n.
Gátu ríma, I, 405.
Geipa-táttur, I, 275, and n., 280-2.
Geyti Áslaksson, III, 17.
Gongu-Rólvs kvæði, I, 508 b.
Harpu ríma, I, 119; II, 498 b.
Harra Pætur og Elinborg, I, 459 b; III, 507 b.
Kall og Svein ungi, III, 496.
Margretu kvæði, I, 444, 446.
Mariu vísa, I, 228; II, 501 b.
Óluvu kvæði, II, 40, 510 b.
Reji Smiur, Regin Smiður, II, 513 b.
Rudisar vísa, I, 234; II, 501.
Sveinur í Vallalið, II, 513 b.
Torkilds Riim, eller St Catharinæ Vise, I, 54 n., 172; II, 499 a.
Torkils døtur, II, 499 a.
Finnish (see also Esthonian).
Kojosen poika, Kojoin’s Son, I, 46.
Lunastettava neiti, II, 349.
The Maid freed from the Gallows, Finnish and Esthonian versions,
II, 349; IV, 482 a; V, 231-3.
Mataleenan vesimatka, I, 228, 230.
Morsiamen kuolo, II, 205 b, n., 512 b.
Velisurmaaja, Brother-Murderer, I, 168.
Werinen pojka, The Bloodstained Son, I, 168, 446.
Finnish ballads cited without titles: V, 231-3.
French and Provençal.
A la ronde, mesdames, IV, 495 a.
Adiu, Margaridoto, I, 400.
Allons, mie, nous promener, I, 43.
L’amant discret, II, 481 b; III, 518 a; IV, 495 a.
L’amant timide, V, 297.
Après ma journée faite, IV, 495 a.
Arnaud, IV, 459.
See Renaud.
L’Arnaud l’Infant, I, 380.
Au Château de Belfort, V, 296.
Au jardin des olives, IV, 482.
L’autre jour, II, 481.
La batelière, La batelière rusée, II, 483; V, 297.
Le beau Déon, II, 356; III, 517 a.
Du beau marinier, I, 44.
Belle, allons nous épromener, I, 43; II, 497 a.
La belle dans la tour, IV, 482 a; V, 234 a, 296.
La belle et l’ermite, IV, 495.
Belle Idoine, IV, 482 a; V, 234 a.
Belle Isambourg, II, 355.
La belle qui fait la morte, V, 234.
La belo Marioun, V, 208.
La bergère rusée, II, 482.
La biche blanche, II, 156.
Lou bouiaje, IV, 462.
Lou cabalier discret, IV, 495 a.
Le cavalier, II, 482.
C’est trois garçons dépaysés, V, 209.
La chanson de la bergère, V, 90.
La chanson de Renaud, V, 216.
Chanson de voyageur, I, 400.
Chanson du brave Altizar, II, 497.
Le chant de l’alouette, IV, 390.
Chante, rossignolet, II, 181.
Chasseur, mon beau chasseur, V, 239 b.
Les chevaux rouges, II, 512.
La concubine, I, 426.
Les conditions impossibles, V, 284.
Les coumpagnons, V, 209.
Lou Counte Arnaud, I, 380; IV, 459.
Lou Cros dé Proucinello, IV, 441.
La damnée, I, 426.
De Dion et de la fille du roi, I, 42; II, 356, 497.
La delaissée, III, 510 b; IV, 469 a.
Derrièr’ la Trinité, II, 512 b; III, 510 b.
Le déserteur, III, 381.
Dessous le rosier blanc, IV, 482.
Les deux amoureux, IV, 443.
Les deux maris, II, 499.
La doulento, III, 500.
En allant au bois, II, 481.
En chevauchant mon cheval rouge, II, 512 b.; III, 510 b.
En revenant de la jolie Rochelle, I, 43, 488 a.
En revenant de Saint-François, II, 481.
L’enfant noyé, IV, 507.
Entre Paris et Saint-Denis, I, 463.
L’épée libératrice, I, 44.
Et qui vous passera le bois? II, 481.
La femme abandonnée, I, 463.
La fausse morte, I, 502.
La fiancée du prince, III, 497 b (No 5); V, 222 a.
Lou fil del rey et sa mio morto, IV, 471 b.
La filho doou ladre, II, 481.
La fille bien avisée, II, 481.
La fille damnée, V, 291.
La fille dans la tour, III, 517 a; IV, 482 a.
La fille d’honneur, II, 482.
La fille d’un boulanger, II, 406.
La fille d’un cabaretier, II, 499 a; III, 500; V, 287 a.
La fille d’un prince, II, 356.
La fille de Saint Martin, III, 497; IV, 441.
La fille de Saint-Martin de l’Ile, I, 43.
La fille des sables, I, 44.
La fille du duc de Montbrison, V, 234.
La fille du lépreux, II, 481.
La fille du patissier, I, 44.
La fille du prince, I, 44 n.
La fille du roi et le Prince de Guise, II, 356; III, 517 a; IV,
482; V, 234 a.
La fillette et le chevalier, I, 43.
Le fils Arnaud, II, 506.
Le fils du Roi d’Espagne, II, 499.
Le fils Louis, I, 380.
Las finessos de la Marioun, V, 89.
La Fuite en Égypte, II, 7; IV, 462.
La Fuito en Egypto, II, 1, 7, 509.
Lou galant, V, 89.
Le galant maladroit, II, 481.
Germaine, II, 215; V, 294.
L’honnête garçon, II, 481.
Il était un chasseur, II, 481.
Il fallait plumer la perdrix, V, 296.
L’infidèle punie, V, 292.
J’ai fait un rêve, II, 181.
J’ai fait une maîtresse, I, 400; IV, 459.
J’ai fini ma journée, IV, 495 a.
Lou jalous, V, 89.
Le jaloux, V, 89, 304.
Jean Renaud.
See Renaud.
Jeannetoun, V, 89.
J’entends le rossignolet, I, 181.
La jeune coutourière, IV, 495.
La jolie batelière, II, 483; V, 240 a.
La jolie couturière, V, 240.
La jolie fille de la Garde, II, 356.
Lou jolous, V, 89.
Là-bas, sus ces grands champs, V, 209.
Lazare et le mauvais riche, II, 10; V, 220.
La légende de Pontoise, II, 512 a; IV, 469 a.
Lise et Mainfroi, II, 459.
Le lourdand moine, V, 101.
Ma pauvre Élise, II, 499.
La maîtresse captive, II, 356.
La maîtresse gagnée, I, 400.
La marchande d’oranges (pommes), II, 481; III, 518 a.
Margarideto, IV, 459.
Margueridette, II, 481.
Le mari assassin, IV, 441.
Le mari de Marion, V, 89.
Le mari jaloux, V, 89.
Le mari soupçonneux, V, 90.
Le mariage tragique, V, 293.
Marie-Madeleine, I, 231.
Marie Magdeleine, I, 231.
Marion, V, 89, 281 a.
Le mauvais riche, IV, 462; V, 220 a.
Les métamorphoses, III, 506.
Mignonne, II, 506.
Le moine Nicolas, V, 101.
Monsieur de Savigna, II, 497.
La mort des deux amants, III, 498.
La mort de Jean Raynaud (Renaud), V, 216, 290.
L’occasion manquée, II, 481.
Le passage du bois, III, 500.
Lou pastour brégountsous (trop discret), IV, 495.
Lou pastour et la pastouro, II, 482.
Lou pastre, II, 481.
La pauvre Madeleine, I, 231.
Les pèlerins de Saint Jacques, II, 510 a.
Des pèlerins de Saint Jacques, La grande chanson, I, 238, and n.
Petite Rosalie, I, 463 n.
Le plongeur, III, 381.
La poursuite d’amour, I, 400.
Praube moussu, II, 481.
Lou premier jour de Mai, II, 181.
Lou premier miracle, II, 1.
Le prince qui torture sa fille, V, 296.
La princesse, II, 356.
La princesse de la Grand’ Tour, II, 356.
La prisonnière, III, 517.
Las rebirados de Marioun, V, 89.
La religieuse, I, 506.
Renaud, I, 379-82; II, 506 a; III, 506 a; IV, 459 a; V, 216 a.
Renaud et ses femmes, IV, 441 b.
See Renauld et ses quatorze femmes.
Renauld et ses quatorze femmes, and other related French ballads, I,
42 f., 44, 488 a; II, 497 a; III, 497 a; IV, 441 b.
La recontre, II, 481.
Le rendez-vous, IV, 390.
Les répliques de Mario(u)n, V, 90, 304.
Las respounsos de Marioun, V, 90.
Un retour de guerre, IV, 450.
Le retour du mari, I, 198, 502 b; II, 499 b; IV, 450 b; V, 210 b.
Le Roi Hérode, II, 7.
Le Roi Léouis, III, 506 a.
Le Roi Loys, V, 296.
Le Roi Renaud, La ballade du Roi Renaud, I, 380.
See Renaud.
La ronde du battoir, III, 381.
Rosine, I, 43.
Le rossignolet, IV, 469; V, 223.
La rusade, V, 89, 304.
Saint Joseph avec Marie, IV, 462.
Le serpent vert, III, 367 n.
Siffle, berger, de mon haleine! II, 498.
Le Sire de Créqui, I, 198; II, 215.
Le soldat au convent, I, 506.
Lo surprero, V, 89.
Le testament de Marion, I, 144, V, 208 a.
Tout au milieu de Paris, IV, 460 b.
See I, 462 f.; II, 508 a.
Le traître noyé, I, 43.
Les transformations, I, 400; II, 506 b; III, 506 b; IV, 495 b; V,
216 a.
La triste noce, III, 510.
Les trois capitaines, II, 356; III, 517 a; IV, 482 b; V, 234 a, 296.
Les trois clercs, II, 512 a; III, 509 a.
Les trois écoliers, II, 512.
Trois pèlerins de Dieu, I, 236; IV, 451 b; V, 212 a.
Lou tsalous, V, 89.
Tsanno d’Oymé, IV, 440.
Veux-tu venir, bell’Jeanneton, I, 42.
La villageoise avisée, II, 482; III, 518 a.
Le voltigeur fidèle, V, 302.
Youp ta deritou la la, IV, 495 a.
Zjean et Mariou, V, 89.
German.
Ach Wunder über Wunder, I, 181.
Adelger, I, 29.
Der Ahornbaum, I, 493.
Der Albrecht und der Hanselein, I, 30.
Alle bei Gott die sich lieben, I, 97; II, 206 n., 310.
Als die wunderschöne Anna (auf dem Brautstuhle sass), V, 207, 285.
Alte Ballade die in Entlebuch noch gesungen wird, I, 29.
Der alte Halter und das Kind, I, 504.
Annele, I, 29.
Das ausgesetze Kind, I, 504.
Der Bauer und sein Weib, V, 89.
Das Begräbniss im Walde, V, 287.
Die Betrogene, II, 137.
Der betrogene Ehemann, V, 89.
Der Bettelman, V, 110.
Der Bettler, I, 502.
Bie wrüe işt auv der ritter[s,ş]màn, I, 29.
Der böse Bruder, II, 101.
Der Brautmörder, I, 29.
Brautmörder, I, 38.
Der Bremberger, V, 31.
Christinchen, II, 101.
Curt Mündel, I, 486.
Die drei Spielleute, I, 493.
Des Ehemannes Heimkehr, V, 89.
Ehestandsaussichten, I, 484.
Eitle Dinge, I, 7.
Der Erbgraf, II, 204 n.
Die Erle, I, 493.
Erlkönigs Tochter, I, 376 n.
Der ernsthafte Jäger, I, 393.
Es blies ein Jäger, I, 97.
Es gingen zwei Liebchen durch einen grünen Wald, V, 287.
Es hütet ein Schäfer an jenem Rain, V, 287.
Es reitet ein Ritter durch Haber und Klee, I, 29.
Es ritt ein Räuber wohl über den Rhein, V, 285.
Es schlief ein Graf bei seiner Magd, V, 225.
Es sitzt gut Ritter auf und ritt, I, 29.
Es spielte ein Ritter mit einer Madam, V, 294.
Es trieb ein Schäfer mit Lämmlein raus, II, 500 a.
Es war ein Jäger wohlgemut, V, 294.
Es wollt sich ein Markgraf ausreiten, I, 29.
Das falsche Mutterherz, I, 219.
Der falsche Sänger, I, 29.
Frau von der Löwenburg, I, 144; V, 286.
Die Frau zur (von) Weissenburg, I, 144; V, 286.
Gemalte Rosen, I, 7.
Die Gerettete, I, 29 f.
Gert Olbert, I, 29 f., 47.
Graf Friedrich, I, 33 n., 97, 142, 143, 436, 496; IV, 449 a.
Graf Hans von Holstein und seine Schwester Annchristine, II, 101 f.
Der Graf im Pfluge, I, 459 n.
Der Graf von Rom, I, 459 n.
Der Graf und das Mädchen, V, 225.
Der Graf und die Bauerntochter, II, 206 n., 310.
Der Graf und sein Liebchen, V, 225.
Der grausame Bruder, II, 101 f.; V, 34.
Der grobe Bruder, II, 101 f.
Grossmutter Schlangenköchin, I, 153.
Das Gugibader-Lied, I, 29.
Hammen von Reystett, III, 367 n.
Hans Markgraf, II, 206 n., 310, 513 b.
Hans Steutlinger, I, 144; V, 286.
Hanşel junc, I, 506 a.
Herr Olof, I, 376 n.
Der Herr und seine Dame, II, 205 n.
Höllisches Recht, I, 219.
Der Jäger, I, 393 f., 508 b; II, 506 a.
Der Jäger und die reine Jungfrau, I, 393.
Jägers Trauer, II, 206 n.
Des Jägers Verdruss, I, 393.
Jägerslied (Jäger-Romanze), V, 290.
See Der Jäger.
Die junge Mutter, II, 206 n.
Jungfer Dörtchen (ist todt), II, 206 n., V, 294.
Jungfrau Linnich, I, 29, 31.
Junker Hans Steutlinger, I, 144; V, 286.
Der Junker und das Mädchen, II, 483.
Junkernlust und Mädchenlist, II, 483.
Kind, wo bist du denn henne west? I, 154.
Die Kindesmörderin, I, 219.
Eyn klegliche Mordgeschicht, von ey’m Graven vnnde eyner Meyd, II,
204 n.
Königs Töchterlein, I, 38 n.
Kranzsingen, I, 2 n.
Kurz gefasst, I, 508.
Lazarus, II, 10.
Liebchens Tod, II, 206 n.
Liebe ohne Stand, I, 26 n., 37.
Liebes-Neckerei, I, 7.
Liebesprobe, II, 348.
Liebesspielereien, I, 7.
Des Liebsten Liebe die grösste Liebe, II, 348.
Das Lied vom Herren und der Magd, II, 204 n.
Das Lied vom Pfalzgrafen, II, 101.
Das Lied von dem falschen Rittersmann, I, 30.
Das Lied von der Löwenburg, I, 144; V, 286.
Die Losgekaufte, II, 348; V, 296.
Das losgekaufte Mädchen, II, 348.
Loskauf, II, 348.
Die Machte der Thränen, II, 235.
Des Mannes Heimkehr, V, 89.
Das Mäntelein, II, 482.
Die Mörners Sang, I, 29.
Müllertücke, I, 39.
Der Mutter Fluch, I, 37 n.; II, 310; IV, 187.
Die Nixenbraut, I, 38 n.
Nun schürz dich, Gredlein, I, 39.
O Schipmann, II, 348.
O Wind, O Wind, O Wind! V, 89.
Der Pfalzgraf vom Rhein, II, 101 f.
Des Prinzen Reue, II, 204 n.
Die Rabenmutter, I, 219; V, 287.
Räthsel, I, 2.
Räthsel um Räthsel, I, 1.
Räthselfragen, I, 2, and n.
Räthsellied, I, 1, 2.
Der Reiter und die Kaiserstochter, V, 285.
Der Reiter und seine Geliebte, V, 287.
Der Ritter im Walde, V, 285.
Der Ritter und das Mägdlein, II, 204 n.
Der Ritter und die Königstochter, I, 37; V, 207.
Der Ritter und die Magd, II, 406.
Der Ritter und die Maid, I, 96, 486; II, 204 n., 205 n., 512 b; IV,
471 a; V, 225 a.
Der Ritter und seine Dame, II, 204 n.
Der Ritter und seine Geliebte, I, 502 a.
Der Schäfer und der Edelmann, II, 349.
Die Schäferstochter, III, 502.
Schlangenköchin, I, 153.
Das Schloss in Oesterreich, II, 174 n.; V, 293.
Schön Adelheid, II, 66.
Schön-Aennelein, I, 30.
Schön Anneli, III, 497.
Schön Elselein, II, 406 b.
Schön Hannchen, V, 206.
Schön Ullerich und Hanselein, I, 30.
Schön Ulrich, I, 486.
Schön Ulrich und Rautendelein, I, 30.
Schön Ulrich und Roth-Aennchen, I, 30.
Schöndili, I, 486 a.
Schondilie, I, 29.
Die schöne Agnese, I, 365; II, 506 a.
Die schöne Agnete, I, 365.
Die schöne Agniese, I, 365.
Die schöne Angnina, I, 365.
Die schöne Anna, V, 207.
Die schöne Dorothea, I, 365; IV, 459 a.
Die schöne Hannăle, I, 365.
Die schöne Hannele, I, 365.
Ein schöner Bremberger, V, 31.
Das Schwabentöchterlein, II, 406.
Die schwarzbraune Hexe, I, 97.
Soldatenlohn, V, 225.
Stiefmutter, I, 153.
Stolz Heinrich, I, 38 n., 113.
Stolz Sieburg, I, 38.
Südeli, II, 127.
Der Teufel und die Müllerstochter, I, 219.
Der todte Freier, II, 228, and n., 240; V, 225 a, 294.
Die Todtenbraut, V, 63.
Der Todwunde, I, 97.
Traugemundslied, I, 2 n.
Die traurige Begegnung, II, 205 n.
Ulinger, I, 29-39, 47, 93, 486 a; III, 497 a; IV, 441 a; V, 206 f.
Ulrich, I, 30.
Ulrich und Aennchen, I, 30.
Ulrich und Annle, I, 30.
Die unglückliche Braut, I, 38 n.
Unmögliche Dinge, I, 7.
Unmögliches Begehren, I, 7.
Unmöglichkeiten, I, 7.
Die unschuldig gehangene und gerettete Dienstmagd, V, 288.
Der unschuldige Tod des jungen Knaben, II, 174 n.
Das unverdiente Kränzlein, II, 206 n.
Van ideln unmöglichen Dingen, I, 7.
Das vergiftete Kind, I, 154.
Der verschlafene Jäger, I, 393.
Die Verschmitzte, II, 483.
Die verwundete Dame, I, 437.
Der verwundete Knabe, I, 437.
Vom Judenmord zu Deggendorf, III, 240 n.
Vom jungen Markgrafen, II, 206 n.
Von dem Markgrafen Backenweil, V, 291.
Von den Juden zu Passau, III, 240 n.
Von der jungen Markgräfin, II, 513 b.
Von einem gottlosen Zauberer und seiner unschuldigen Kindlein
wunderbarer Erlösung, I, 402.
Von einem frechen Räuber, Herr Ulrich geheissen, I, 30.
Von einem wackern Mägdlein, Odilia geheissen, etc., I, 29, 31.
Von eitel unmöglichen Dingen, I, 7.
Von Farbe so bleich, I, 181.
Der Vorwirth, II, 235.
Die Waisen, I, 181.
Der Wasserman, I, 38 n., 365; IV, 441 a.
Wassermans Braut, I, 38, and n., 39 n., 365.
Die Weismutter, V, 288.
Wettgesang, I, 7.
Wind über Wind, V, 89.
Wunderbare Aufgaben, I, 7.
Die wunderschöne Anna auf dem Rheinsteine, V, 285.
Der Zimmergesell und die junge Markgräfin, III, 109 n.
Zu Frankfurt steht ein Wirtshaus, V, 288.
Zu späte Reue, II, 204 n.
Gypsy.
(Transylvanian etc.) ballads cited without titles: III, 517; V, 63.
Icelandic.
Ásu kvæði, I, 28, 53; II, 496.
Eyturbyrlunar kvæði, I, 156.
Gunnhildar kvæði, II, 34 n.
Hörpu kvæði, I, 119, 122.
Kvæði af Loga í Vallarhlíð, II, 297.
Kvæði af Ólafi Liljurós, I, 374.
Málfríðar kvæði, II, 310.
Margrètar kvæði, I, 445.
Marteins kvæði, I, 249.
Ólafs kvæði, I, 374,
Ólafur og álfamær, I, 374.
Ólöfar kvæði, II, 157.
Ormars rímur, II, 49 n.
Ribbalds kvæði, I, 91; II, 127.
Rika álfs kvæði, I, 362.
Símonar kvæði, IV, 492.
Soffíu kvæði, II, 101, 102.
Sonar harmur, I, 179, 180.
Sætrölls kvæði, II, 13 n.
Tristrams kvæði, I, 98.
Þiðriks kvæði konúngs, II, 406.
Þorkels kvæði Þrándarsonar, II, 498 a.
Vallara kvæði, I, 173.
Italian.
L’adultera, II, 103 n.
L’amante avvelenato, III, 499.
L’amante deluso, I, 393.
Ambrogio e Lietta, III, 508 b.
Amor costante, III, 517.
Amor di fratello, IV, 186.
Amore inevitabile, III, 506.
L’avvelenato, I, 152 f., 498 b; 208 b.
La ballerina, V, 231.
La bella Brunetta, I, 393; III, 506; IV, 459.
La bella Inglese, IV, 441.
Bennardo, III, 501.
La bevanda sonnifera, I, 393; III, 506 b; IV, 459 b.
Bombarion, V, 90.
(La) Brunetta, I, 393; V, 296.
Buonasera, vedovella, IV, 186.
Canto marinaresco di Nicotera, IV, 481.
La canzóne de ’nucénzie, I, 496.
Il Castello d’Oviglio, III, 498.
Catarine, III, 516.
Il cavaliere della bella spada, I, 382 f.; II, 506 a.
Il cavaliere ingannato, III, 506.
U cavalieru traditu, IV, 449.
Che mestiere è il vostro? III, 496.
La contadina alla fonte, I, 393, 488.
Il conte Angiolino, I, 382, 383.
Conte Anzolin, El conte Anzolin, I, 382; V, 216 a.
Il conte Cagnolino, I, 270, 382.
Il corsaro, I, 44; III, 497.
Danze e funerali, III, 510 b.
De lu cavalieri e figliu de re, I, 498.
Donna Lombarda, I, 156; III, 499 b; V, 286.
Le due tombe, III, 498.
Un’eroina, III, 497; IV, 441.
La fandéll e lu cavalére (cavaljiere), I, 393; III, 497, 506.
La fidanzata infedele, II, 103 n.; III, 497 b, 508 b; V, 292.
La figlia del conte, I, 44.
La figlia del re, II, 482.
La figlia disobbediente, IV, 186.
La figlia snaturata, III, 516.
Il finto (falso) pellegrino, III, 501.
Fior di tomba, III, 498.
Flavia, V, 30.
La fuga, III, 497.
La fuga e il pentimento, III, 517.
Il furto amoroso, IV, 390.
Il galante burlato, III, 518 a.
Il Genovese, I, 250; III, 503 a; V, 212 a.
Giovanina, V, 207.
Inglesa, IV, 441.
La Inglese, I, 44.
Laura, I, 44.
La lavandaia, I, 382.
Leggenda marinesca, V, 231.
Leggenda napitina, IV, 481.
La liberatrice, I, 44; III, 497.
Luggieri, I, 383 n., 496.
La Madalena, I, 505 a.
La Madonna e il riccone, II, 10.
La madre indegna, I, 393.
Mal ferito, III, 506.
La maledetta, I, 44; IV, 186.
Maledizione della madre, IV, 186.
La maledizione materna, IV, 186.
Mamma e figghiolo, III, 499.
Maria Maddalena, IV, 451; V, 288.
Marinai, IV, 186.
Il marinaro e la sua amorosa, IV, 186.
El mariner, V, 207.
Marion, V, 304.
Il marito geloso, V, 90.
La moglie fedele, III, 501.
La monacella salvata, III, 518 a.
Monchisa, I, 43 f.
La Monferrina, I, 44; III, 497.
La Monferrina incontaminata, I, 44, 488; III, 497; IV, 441.
Montiglia, IV, 441.
Moran d’Inghilterra, I, 462; III, 507 b.
Morando, I, 462.
La Moraschina, III, 506.
Morte occulta, I, 382 f.; II, 506 a; III, 506 a; V, 216 a.
Mosettina, V, 296.
La’nfantina e lu cavalieri, III, 506.
O Violina, tu hai le gote rosse, V, 90 n., 304.
Occasione mancata, III, 518 a.
L’onore salvato, III, 517.
Il padre crudele, V, 29.
Il penitente, III, 520.
Poter del canto, III, 509 b.
La prigioniera, III, 516 a; V, 296.
Il primo amore, II, 181.
Lu pringepe de Meláne, III, 497.
La prova, II, 426; III, 518 a.
La prova d’amore, II, 426; III, 518 a.
La ragazza assassinata, III, 500.
La ragazza ed i soldati, II, 426.
La ragazza fantina, III, 506.
La ragazza onesta, I, 393.
Il re Carlino, I, 382.
Le repliche di Marion, V, 90.
Ricardo e Germonda, V, 303.
Il ricco epulone, III, 507; V, 292.
Il riconoscimento, II, 426.
Risguardo belo e Rismonda bela, V, 30.
Rissiäla, V, 208.
Il ritorno, II, 426; III, 518 a.
Il ritorno dalla guerra, II, 426.
Il ritorno del soldato, III, 501.
Rizzardo bello, I, 142, 383 n., 496 a; III, 499 a; IV, 449 a; V, 208
b.
Rizzôl d’amor, I, 496.
La rondine importuna, IV, 390.
La rondinella, IV, 390.
Ruggiero, III, 499.
Rusine e Ddiamóre, II, 426.
Sant’ Alessio, III, 520.
S. Maria Maddalena, I, 504 f.
Scibilia nobili, II, 346 f.; III, 516 a; IV, 481 a; V, 231 a; 296.
Gli scolari di Tolosa, II, 174; III, 509 a.
Soldatino, II, 507.
La sposa colta in fallo, V, 90.
La sposa morta, III, 510, 513; V, 291.
Testamento dell’ avvelenato, III, 499.
Testamento della moglie, III, 499.
I tre tamburi, IV, 439.
La vendicatrice, I, 44.
La vergine uccisa, III, 500.
Violina, V, 296.
La visita, IV, 390.
Ladin.
Who is the younker that goes afield ere dawn, I, 400.
Lettish.
Das Lied von der Jüngsten, I, 493 b.
Die Lindenharfe, I, 493 b.
Der losegekaufte Soldat, II, 349 n.
Lithuanian.
Bernélio raudójimas (Die Klage des Jünglings), I, 124.
Lithuanian ballads cited without titles: I, 124, 418 f., 504 a.
Magyar.
Áspis kígyó (Die Aspschlange), III, 516 b.
Darvas Kis Clement, II, 103.
János, I, 499.
Ki veszi ki a kigyót? (Wer nimmt die Schlange heraus?), III, 516 b.
A megétett János (Der vergebene Johann), I, 154, 498 f.; III, 499
b.
Molnár Anna, I, 45, and n., 487 n.
Pálbeli szép Antal (Schön Anton), I, 249 f., 506 a.
Sárga mérges kígyó (Die gelbe giftige Natter), III, 516 b.
Sárig kiesi kígyó (Gelbe kleine Natter), III, 516 b.
Sási kényó, III, 516 b.
Sasi kígyó, III, 516 b.
Szilágyi és Hagymási (Szilágyi und Hagymási), I, 107 b, 463; III, 498
b.
Two Princes (Hero and Leander), I, 98.
Magyar ballads cited without titles: I, 98, 437, 463 (see III, 498
b); II, 406, 498 a; III, 516; V, 89.
Norwegian.
Antonetta, I, 362.
Dæ bur ein Mann hær utmæ Aa, I, 119.
Ebbe Skammelsøn, V, 292 f.
Far aa Dótter, II, 157; IV, 468 a.
Grivilja, I, 179.
Harald Kongin og Hemingen unge, III, 17.
Hemingjen aa Harald Kungen, III, 518 b.
Herr Nikelus, I, 112; II, 85.
Herr Stragi, II, 204 n., 205.
Herre Per i Riki, I, 459.
Herre Per og Gjöðalin, II, 143.
Herre Per og stolt Margit, I, 112; II, 85.
Ivar Erlingen og Biddarsonen, II, 513.
Líti Kersti, I, 90.
Liti Kersti som Stalldreng, II, 85.
Liti Kersti, som vart inkvervd, I, 362.
Liti Kerstis Hevn, I, 54 n.; II, 180.
Målfri, I, 362.
Maalfrí, II, 310.
Maarstig aa hass Möy, II, 205.
Margit Hjuxe, som vart inkvervd, I, 362.
Maria, I, 228 f.
Nykkin beðlar til Heiemo, I, 39 n.
Olaf Liljukrans, I, 374.
Opsaug, I, 7.
Pá Grönaliðheiði, I, 404.
Reven og Bjönnen, I, 144.
Reven og Nils Fiskar, I, 144.
Rikeball og stolt Guðbjörg, I, 91.
Rullemann og Hildeborg, I, 28.
Signelill aa hennes Synir, I, 156.
Sólfager og Ormekongin, V, 7.
Svein Norðmann, I, 28.
Die tvæ Systa, I, 119.
Die tvo Systar, I, 119.
Unge herr Peder pá Sjöen, II, 13.
Unge Ingelbrett, II, 298, 303.
Utro Fæstemø, V, 286.
Veneros og stolt Ölleber, I, 91.
Portuguese.
A bella infanta, III, 501.
Bella infanta, I, 503; II, 427.
Bernal Francez, V, 291.
Branca-Flor, Romance de, II, 69 n.
Bravo-Franco, Estoria do, I, 488 a.
O caçador, II, 481.
O caçador e a donzilla, II, 481.
O caso de D. Ignez, IV, 441.
O cego, V, 110.
Conde Nillo, I, 97.
Conde Niño, I, 97.
Dom Alberto, II, 512 a.
Dom Carlos de Montealbar, II, 113.
Dom Diniz, I, 97.
Dom Doardos, I, 97.
Dom Duarte e Donzilha, II, 498.
Dom Franco, Romance de, I, 45.
Dom Pedro e Dona Leonarda, I, 385.
Dona Aldonça, II, 113.
Dona Ausenda, II, 113 and n.
Dona Branca, II, 512 a.
Dona Catherina, I, 503; II, 427.
Dona Helena, I, 144.
Dona Inez, I, 45.
Dona Infanta, I, 503; II, 427.
Donzella encantada, II, 481.
A encantada, II, 481.
A ermida no mar, I, 97.
Filha Maria, I, 97.
Flor de marilia, II, 512 a.
Gallo-frango, I, 488 a.
Gerinaldo, II, 127 n.
Infantina, II, 481.
A Infeitiçada, II, 481.
Miragaia, V, 6.
Rainha e captiva, II, 69 n.
A romeira, I, 45 n.
Romeirinha, Romance de, I, 45 n.
(Many of these ballads occur in the Galician dialect: see Antonio de
la Iglesia, El Idioma Gallego, III, 114-17.)
Romaic.
Ἡ αἰχμαλωσία, I, 199.
Ἡ ἄλωσις τῆς Κωνσταντινουπόλεως, I, 241.
Ἡ ἀναγνώρισις, II, 215, 427.
Ἀναγνωρισμός, I, 199; II, 427; V, 210 b.
Ἡ ἀπάτη, II, 483.
Ἡ ἁρπαγή, I, 200.
ᾎσμα Γι̮ αννακοῦ, I, 199.
ᾎσμα τοῦ Πνιγμένου, III, 381.
La Belle Augiranouda, V, 294.
Ἡ Βουργαροποῦλα καὶ ἡ κακὴ πεθερά, I, 157.
Il Compito, IV, 439.
Τὸ γύρισμα, II, 427.
Ὁ Γυφτάκης, Θάνατος τοῦ Γυφτάκη, Τοῦ Γυφτάκη, III, 54.
Ὁ Δήμος, Ὁ τάφος τοῦ Δήμου, III, 104.
Ὁ Διονὺς καὶ ἡ κακὴ πεθερά, I, 157.
Τα ἑκατὸν λοι̮ α, I, 416.
Ὁ ἔρωτας ’ς τὸν τάφο, II, 206.
Τὸ Εὐγενάκι, II, 206.
Ἡ Εὐγενοῦλα, Ἡ Εὐγενοῦλα καὶ ὁ Χάρος, Ἡ Εὐγενοῦλα ἠ
Γάμος καὶ ξόδι, II, 206.
Θάνατος τοῦ Γυφτάκη, III, 54.
Τὰ κακὰ πεθερικά, I, 156.
Τὸ κυβοῦρι τῶν ἀρραβωνιασμένω, II, 206.
Κωσταντῖνος καὶ Ἀρετή. See Ὁ νεκρὸς αδελφός.
Ὁ λαβωμένος κλέφτης, III, 104.
Ἡ μάγισσα, III, 381.
Τοῦ Μαυριανοπούλου, V, 21.
Ὁ Μαυριανὸς κ’ ὁ Βασιλεᾶς, V, 21.
Ὁ Μαυριανὸς καὶ ὁ Βασιλεύς, V, 21. Maurogène, V, 22.
Ὁ Μικροκωσταντῖνος κ’ ἡ μάγισσα, III, 381.
Ἡ μονοθυγατέρα, II, 206.
Ὁ νεκρὸς ἀδελφός, Κωσταντῖνος (Κωσταντῆς) καὶ Ἀρετή
(Ἀρετώ, Εὐδοκια), V, 65.
Ὁ νιόπαντρος σκλάβος, I, 199.
Ἡ πιστὴ σύζυγος, II, 427.
Quarante ans j’ai travaillé, V, 290.
Ἡ Ῥωμαιοποῦλα, I, 400.
Ὁ Σταυριανὸς καὶ ὁ Βασιλιᾶς, V, 21.
Τὸ στοίχημα, V, 21.
Τὸ στοίχημα τοῦ βασιλιᾶ καὶ τοῦ Μαυριανοῦ, V, 21.
Στοίχημα Διονῦ καὶ ξαντσαρλῆ, V, 22.
Ὁ τάφος τοῦ Δήμου, III, 104.
Les Transformations, V, 290.
Ὁ Χάρος καὶ ἡ κόρη, II, 206.
Romaic ballads cited without title (besides some of which the title
is here supplied): I, 97, 437; II, 215, 406, 498 a, 507 b; V,
210 b, 285 b.
Roumanian.
Cucul şi turturica (Cuckoo and turtle-dove), I, 400; II, 506.
Giurgiu, III, 517.
Inelul şi năframa, Ânelulŭ si nafram’a (Ring and handkerchief), I,
97, 201; III, 498 a.
Mihu Copilul, II, 137.
Mioriţa, IV, 460.
Şalga, II, 137.
Vidra, II, 137.
Roumanian ballad cited without title, I, 437.
Slavic. Bohemian.
Heřman a Dornička, I, 386; IV, 459 a.
Klas z hrobu, Voice from the Grave, II, 228.
Nevěsta nešt’astnice, The Unhappy Bride, I, 487.
Oklamaný Turek, The Turk Duped, II, 356; III, 517 b.
Sestra travička, The Sister a Poisoner, I, 156.
Zabité děvče, The Murdered Maid, I, 487.
Zabitá sestra, The Murdered Sister, I, 487.
Zakletá dcera, The Daughter Cursed, I, 493 b.
Ženich umrlec, Dead man for Bridegroom, V, 63.
Slavic. Bulgarian.
Choždenie mertveca po bělomu světu, The Ghost’s wandering over the
white world, V, 64.
Elin Dojka, V, 64.
Elin Dojna, V, 64.
Jana, V, 64.
Koga nevěstata sě klanjat na kumot, When the Bride makes her Curtsey
to her best-man, III, 501 b.
Lazar i Jovana, V, 64.
Lazar i Petkana, V, 64.
Markokralevič věrolomnym obrazom ubivaet junaka ditja semi měsjacev
imějuščago konja semi měsjacev, Markokralevič treacherously
kills the hero, a child of seven mouths having a seven months
old horse, IV, 463 b.
Markokralevič věrolomnym obrazom ubivaet junaka bolěe sil’nago čěm
on, ditja Dukatinče, Markokralevič treacherously kills a hero
stronger than himself, the child Dukatinče, IV, 463 b.
Marko i dete Dukadince, Marko and the child Dukadince, IV, 463 b.
“Momtchil,” Le baiser fatal, I, 496 b.
Prevzemanie na Carigrad, The Taking of Constantinople, IV, 452 a.
Rešpel Georgia, IV, 463 a.
Simon i negova nevesta, Simon and his Bride, III, 501 b.
Son moglenskoj korolevy.... Ženid’ba ich syna Pavla Junaka, The
dream of the Moglen queen, etc. The marriage of their son, Paul
the Valiant, III, 501 b.
Stojan i Bojana, Stojan and Bojana, III, 503 a.
Stojan vojnik, Stojan the Soldier, III, 501 b.
Temišvar Gjuro, Marko Kraljevike, Jankulja Vojvoda i dete Goljomeše.
T. G., M. K., J. V., and the child G., IV, 463 b.
Vojnik Stojan i kralica, Soldier Stojan and the Queen, IV, 450 b.
Slavic. Croatian.
Dar i uzdarje, Present and return present, V, 284.
Ive umira za Marom, John dies for Mary, V, 289.
Junak vu madjarski vuzi, Young man in Magyar Prison, V, 296.
Majčina kletva, The Mother’s Curse, V.
Marko Kraljević i brat mu Andrijaš, Marko Kraljević and his brother
Andrew, III, 507 b.
Parapatićev brig, The Parapatić shore, III, 503 a.
Popijevka od Svilojevića, A Song about Svilojević, IV, 497 a.
Vojvoda Janko i mlada Andjelija, Vojvoda Janko and young Andjelija,
V, 296.
Slavic. Great Russian.
Běgstvo vo Egipet, Flight to Egypt, II, 7.
Brat’ja-razbojniki i sestra, The Robber-Brothers and their Sister,
II, 499 a.
Car Konstantin; Vzjatie Carjagrada, Emperor Constantine; The Taking
of Constantinople, II, 501 b.
Devjat’ bratcev i sestra, Nine little Brothers and their Sister, II,
499 a.
Djuk Stepanovič (bylina), III, 501 b.
Dobrynja i Aleša (bylina), I, 199 n., 200; II, 499 f., 511 b.
Dobrynja i Vasilij Kazimirovič (bylina), IV, 499 a.
Lazari: Lazar ubogoj, Lazaruses: Lazarus the beggar, II, 10.
Rodiči oslyšený milau wyslyšen, Rejected by Parents, Accepted by his
Sweetheart, II, 349 b.
Sadko Kurec, bogatyj gost’, (bylina) Sadko Kurec, the Rich Merchant,
II, 15.
Slavic. Little Russian.
Černomorskaja burja, The storm on the Black Sea, II, 15.
Lazar; O Lazarě, Lazarus; Of Lazarus, III, 508 a.
Vdova otravljaet nevěstu, The Widow poisons her Son’s Wife, V, 295.
Vykup kozaka miloju iz tureckoj nevoli, The Ransom of the Cossack
from Turkish Servitude by his Sweetheart, II, 514 a.
Slavic. Moravian.
Dorada, Good Advice, IV, 439 b.
Hřišnice, The Sinner, III, 502 b.
Lazar a bohatce, Lazarus and the Rich Man, II, 10.
The Magdalen, I, 230.
Maruška a Jandóšek, I, 493 a.
Matka travička, The Mother a Poisoner, I, 496 b.
Nešt’astná svatba, The Doleful Wedding, I, 386, 496 a.
První milejší, The First Love, I, 502 b; II, 127 b.
Sestra travička, Sister a Poisoner, I, 156 b.
Umrlec, The Dead Man, I, 487 n.; V, 63.
Útěk Mariè Panny, Flight of Virgin Mary, III, 507 b.
Vrah, The Murderer, I, 487.
Vymińováni, Excuses, IV, 439 b.
Zakletá dcera, The Daughter Cursed, I, 493 b.
Zbojce, The Murderer, I, 487.
Slavic. Polish.
Helene, V, 63.
Jaś i Kasia, I, 39-41, 486 b; IV, 441.
Ucieczka, The Flight, V, 63.
Slavic. Servian.
Braća i sestra, The Brothers and the Sister, V, 64.
Dete Lovzar i majka mu, The Child and his Mother, V, 294.
La fanciulla assediata, I, 401.
Jani i Miljenko, I, 496 b.
Jovan i Jelica, V, 64.
Jovan i Mara, V, 64.
Jurišić Janko, IV, 497 a.
Kletve djevojačke, The Maiden’s Curses, II, 236.
Koja majke ne sluša, She who does not obey her Mother, I, 42.
Lukava čobanka, Tricky Shepherdess, V, 297.
Marko Kraljević i kći kralja arapskoga, Marko Kraljević and the
Daughter of the Arab King, III, 499 a.
Marko Kraljevič u azackoj tamnici, Marko Kraljevič in the Azak
Prison, II, 357.
Mudra devojka, Shrewd Lass, V.
Nachod Simeun, Simon the Foundling, V.
Prelja i car, The Spinster and the Tsar, IV, 439.
Prelja i kujundžija, The Spinstress and the Goldsmith, IV, 439.
Riba i djevojka, The Fish and the Maid, I, 2, n.
Sestra otrovnica, The Sister a Poisoner, I, 156.
Ti si moja svakojako, You are mine for all that, L’amante
inevitabile, I, 401.
Ženidba Jakšića Mitra, Marriage of Jakšić Mitar, V, 212.
Ženidba Stojana Jankovića, The Marriage of Stojan Janković, III, 501
b.
Slavic. Slovak.
Samè nesnadnosti, Sheer Impossibilities, I, 8 a.
Sestra a brat, Sister and Brother, III, 499 b.
WyswobozenČ Janjik, John set free, III, 516 b.
Slavic. Slovenian.
Čudna bolezen, Strange Sickness, I, 250.
Nevérnost, Unfaithfulness, II, 158.
Povodnji mósh, The Merman, I, 366.
Rodbina, Kinship, II, 350.
Svéti Ureh, Saint Ulrich, I, 14, and n.
Wendish.
Aria, džjeći moŕdaŕka, Aria the Child-Murderess, I, 230.
Helska reja, Der Höllentanz, Hell Dance, I, 220.
Judašowa pšerada, The Judas Treachery, I, 242.
Kńez a holićka, Der Herr und die Maid, II, 205 b, n.
Lubčička wupłači, Die Liebste löst aus, II, 349.
Marine ćekneńje, Mary’s Flight, II, 7.
Na pšemó, The Contest, I, 8.
Płakajuca ńeẃesta, The Weeping Bride, I, 386.
Wódny muž, Der Wassermann, The Water-Sprite, I, 366.
Wojb́esneny korčmaŕ, The Tavern-keeper hanged, I, 236 f.
Wumóženje, Die Erlösung, II, 349.
Žjeśi husḿeršnica, Die Kindesmörderin, I, 230.
Z jjedom zawdaty Hindrašk, Poisoned Henry, I, 154.
Zrudny kwas, The Doleful Wedding, I, 386.
Slavic. White Russian.
Pesn’ o grěšnoj děvě, Song of the Sinful Girl, V, 288.
Slavic ballads cited without titles:
I, 2 and n., 39, 41, 97, 124, 155 f., 230, 386, 400 f., 437 b, 484
a, 487-90, 499 a, 502 b, 506 a;
II, 14, n., 228, 240, 349 f., 406, 495 a, 496 f., 498 a, 499 a, 502
a, 511 b;
III, 104, 367 n., 498 f., 501 b, 502 b, 503 a, 506 b,507 b, 509 a,
516 f.;
IV, 439, 441, 443 b, 447 b, 450 b, 451 b, 452 a, 459 b, 474 b, 481
a, 497 a, 499 a;
V, 63 f.; 284, 285, 287, 288, 290, 292, 295, 296, 304.
Spanish.
A cazar va el caballero, II, 480.
La Ausencia, V, 237 a.
El caballero burlado, II, 480; III, 518 a.
Caballero de lejas tierras, II, 427.
Cómo el conde don Ramon de Barcelona libró á la emperatriz de
Alemaña que la tenian para quemar, Romance de, II, 42.
Conde Arnaldos, II, 137.
Conde Claros de Montalvan, II, 113, and n.
Conde Guarinos, Romance del, I, 459 n.
Conde Lombardo, Romance del, II, 158.
El Conde Sol, I, 461, and n.
De Blanca-Niña, II, 158; V, 91.
De Francia partió la niña, II, 480.
De la infanta y don Galvan, II, 113, and n.
De la infanta y el hijo del rey de Francia, II, 406.
Don Bueso, II, 481 n.; III, 510 b; V, 207 a.
Don Pedro, IV, 459 a.
Doña Alda, III, 506 a.
Doña Ana, Romance de, I, 384.
Las dos hermanas, II, 69, and n.
Espinelo, II, 67 n.
La Esposa infiel, III, 509 a.
Estando un caballerito, II, 158.
Galancina, III, 508 b; IV, 466 a.
Galanzuca, III, 508 b.
Gerineldo, I, 462; II, 127 n.; III, 507 b, 509 a; IV, 460 b.
La Hija de la viudina, III, 497 b.
La Infanta encantada, II, 480.
La Infanta y Don Galvan, De, II, 113, and n.
La Infantina, II, 480.
Mañanita, mañanita, IV, 468 a.
Marqués de Mantua, Romance del, II, 197.
El penitente, III, 520 a.
La Princesa Isabel, IV, 441 b.
Rico Franco, Romance de, I, 44.
Tiempo es, el caballero, V, 110.
Las tres adivinanzas, II, 507 b.
Venganza de honor, III, 497 b.
Swedish.
Agneta och Bergamannen, I, 362; II, 511 b.
Agneta och Hafsmannen, I, 364.
Bergkonungen, I, 362.
Den Bergtagna, I, 362.
Den Bortsålda, II, 347 f.; IV, 481 a.
The Bride Drowned, IV, 440 f.
Deielill och Lageman, I, 194.
Den döde Brudgummen, II, 228.
Elf-Qvinnan och Herr Olof, I, 374, 375.
Ellibrand och Fröken Gyllenborg, IV, 443 a.
Elvehöj, II, 137.
Falkvard Lagermanson, II, 342.
Den falske Riddaren, I, 27.
Fröken Gyllenborg, I, 489 b.
Fru Gundela, I, 156.
Fru Malin står ute och borstar sitt bår (The Bride Drowned) IV, 440
f.
Fru Margaretha, II, 127; III, 508 b.
Fästmon, III, 510 b.
Den förtrollade Jungfrun, I, 502 a.
Den förtrollade Prinsessan, I, 336; IV, 455 b.
Den grymma Brodern, II, 157.
Hafsfrun, I, 54 n.
Harpans Kraft, II, 137.
See Harpens Kraft, under Danish ballads.
Helena och Hafsmannen, I, 364.
Helleman Unge, II, 297.
Herr Axel, I, 168 n., 447.
Herr Balder, I, 92.
Herr Carl, eller Klosterrofvet, I, 249, 506 a; III, 503 a; IV, 453 b.
Herr Elver Bergakonungen, I, 362.
Herr Hjelmer, Helmer, Hjelman, I, 94 n.; II, 170 n.; IV, 164.
Herr Lagman och Herr Thor, I, 194.
Herr Magnus, II, 143.
Herr Magnus och Hafstrollet, I, 314.
Herr Malmstens Dröm, II, 205.
Herr Olof i Elfvornas Dans, I, 374.
Herr Olof och Elffrun, I, 374.
Herr Olof och Elfvorna, I, 374.
Herr Peder, II, 13.
Herr Peders Sjöresa, II, 13; IV, 462 b.
Herr Peder och liten Kerstin, II, 180.
Herr Peder och Malfred, II, 310.
Herr Radibrand och lilla Lena, IV, 449 a.
Herr Redebold, I, 91, 92.
Herr Redevall, I, 179.
Herr Riddervall, IV, 450 a.
Herr Samsing, II, 143.
Herr Äster och Fröken Sissa, I, 64 n., 65.
Herren Båld, I, 144.
Hertig Fröjdenborg och Fröken Adelin, V, 30.
Hertig Henrik, I, 194.
Hertig Henrik och Konungen, IV, 482 b.
Hertig Hillebrand och hans Syster, II, 356 b.
Hertig Magnus och Elfvorna, I, 314.
Hertig Nils, II, 205, 206 n.
Herting Liljebrand, I, 92.
Hildebrand, I, 489 b.
Hillebrand, I, 91.
Husarerna, V, 89.
Jungfru Adelin, I, 228.
Jungfru Maja, I, 228.
Jungfru Solfager, V, 7, 280.
Jungfrun och Bergakonungen, I, 362.
Jungfrun och Bergamannen, I, 362.
Jungfruns Död, II, 205, and n.
Koloregris, I, 210.
Krist’ lilla och Herr Tideman, I, 179.
Kung Valdemo, IV, 443 a; V, 207.
Kung Vallemo, I, 91.
Kung Vallemo och liten Kerstin, III, 498 a.
Kung Walmon, I, 92.
Kämpen Grimborg, V, 207.
Lageman och hans Brud, I, 194.
Det lef vande Liket, I, 249.
Lilla Lisa och Herr Nedervall, III, 500.
Den lillas Testamente, I, 154.
Linden, I, 307.
Liten Kerstin och Dane-Peter, II, 85.
Liten Kerstin och Drottning Sofia, II, 101, 102.
Liten Kerstin och Fru Sofia, II, 101 f.
Liten Kerstin Stalldräng, II, 84.
Liten Kerstins Förtrollning, I, 84.
Liten Kerstins Hämd, II, 180.
Magdalena, I, 228.
Moder och Son, I, 179.
Necken, I, 366 n.
Näktergalsvisan, V, 290.
En Näskonung bodde på Illvedens fjäll, I, 493 b.
Olof Adelen, III, 510 b.
Peder och liten Stina, IV, 469 a.
Peder Palleson, II, 205, 206.
Pehr Tyrsons Döttrar i Wänge, I, 172.
Prins Olof, II, 506 a.
Ribbolt, I, 92.
Ridborg, V, 207 b.
Riddar Lage och stolts Elensborg, I, 66.
Riddar Ola, I, 54 n., 64 n.
Riddar Olle, I, 63, and n.
Riddar Olof, I, 64 n.; IV, 442 b.
Riddaren och Torpardrängen, IV, 468 a.
Riddaren Tyne, II, 137.
Risa lill, I, 501 b.
Rosa lilla, I, 179, 501 b.
Rosen lilla, I, 96; IV, 443 b.
Röfvaren Brun, I, 27.
Röfvaren Rymer, I, 28.
Sankt Staffans Visa, I, 235.
De sju Gullbergen, I, 112; II, 85.
Skön Anna, II, 65; IV, 463 b.
Skön Anna och Hafskungen, I, 364.
Skön Anna och Herr Peder, IV, 463 b.
Skön Helena och Riddaren Hildebrand, IV, 449.
Sorgens Magt, II, 227.
Staffans Visa(n), I, 234; II, 7.
Stolt Ingrid, I, 194.
Stolts Botelid Stalldräng, II, 84.
Stolts Elins Förtrollning, I, 84 (C).
Stolts Karin, I, 54 n.
Stolts Signild, III, 122.
Den stridbare Munken, I, 298 n.
Sven i Rosengård, I, 167, 501 b; III, 499 b; V, 209 b, 287 a.
Systermordet, I, 119.
Sömn-runorna, I, 391.
Den Sörjande, II, 205.
Thore och hans Syster, II, 158.
Torpardrängen, II, 137.
De två Systrarne, I, 119; IV, 447.
Den underbara Harpan, I, 119.
Ung Hillerström, II, 170.
Unger Sven, II, 170.
Ungersvennens Dröm, II, 205 n.
TITLES OF COLLECTIONS OF BALLADS, OR OF BOOKS CONTAINING BALLADS,
WHICH ARE VERY BRIEFLY CITED IN THIS WORK
Albanian.
Camarda, D. Appendice al saggio di grammatologia comparata sulla lingua
albanese. Prato, 1866.
de Grazia, Demetrio. Canti popolari albanesi tradizionali nel
mezzogiorno d’Italia, riordinati, tradotti, e illustrati da ----. Noto,
1889.
de Rada, Girolamo. Rapsodie d’un poema albanese raccolte nelle colonie
del Napoletano, tradotte da ---- e per cura di lui e di Niccolò Jeno
de’ Coronei ordinate e messe in luce. Firenze, 1866.
Breton.
Luzel, F. M. Gwerziou Breiz-Izel. Chants populaires de la
Basse-Bretagne. 2 vols. Lorient, 1868-74.
---- Soniou Breiz-Izel. Chansons populaires de la Basse-Bretagne. 2
vols. Paris, 1890.
Quellien, N. Chansons et danses des Bretons. Paris, 1889.
Taylor, Tom. Ballads and Songs of Brittany, translated from the
Barsaz-Breiz of Vicomte Hersart de la Villemarqué. London and
Cambridge, 1865.
Villemarqué, Le Vicomte Hersart de la. Barzaz Breiz, chants populaires
de la Bretagne. 6^e éd. Paris, 1867.
Catalan.
Cansons de la terra. Cants populars catalans, colleccionats per
Francesch Pelay Briz y Candi Candi. Barcelona, I, 1866; II, F. P. Briz
y Joseph Saltó, 1867; III-V, F. P. Briz, 1871, 1874, 1877.
Milá y Fontanals, Manuel. Romancerillo catalan. Canciones
tradicionales. Segunda edicion, refundida y aumentada. Barcelona, 1882.
---- Observaciones sobre la poesia popular, con muestras de romances
catalanes inéditos, por ----. Barcelona, 1853.
Miscelánea folk-lórica per los Srs Almirall, Arabia, et cet. Barcelona,
1887.
Danish.
Abrahamson, Nyerup og Rahbek. Udvalgte Danske Viser fra Middelalderen;
efter A. S. Vedels og P. Syvs trykte Udgaver og efter haandskrevne
Samlinger, udgivne paany af ----. Kjøbenhavn, 1812-14. 5 vols.
Berggreen, A. P. Danske Folke-Sange og Melodier. 2d ed. Kjøbenhavn,
1860. 3d ed. med et Tillæg af islandske og færøiske. Kjøbenhavn, 1869.
Boisen, P. O. Nye og gamle Viser, af og fra danske Folk, samlede og
udgivne af ----. 10th ed. Kjøbenhavn, 1875.
Borrow, George. Romantic Ballads, translated from the Danish, etc.
London, 1826.
Brage og Idun, et nordisk Fjærdingårsskrift, udgivet af Frederik
Barfod. København, 1839-42. 4 vols and 1 haefte.
Dansk Kirketidende. Kjøbenhavn, 1846-.
Feilberg, Henning Frederik. Fra Heden. Haderslev, 1862.
Grimm, W. C. Altdänische Heldenlieder, Balladen und Märchen, übersetzt
von ----. Heidelberg, 1811. Zusätze und Verbesserungen, _in_ Drei
altschottische Lieder. Heidelberg, 1813.
Grundtvig, Svend. Engelske og skotiske Folkeviser med oplysende
Anmærkninger, fordanskede. Kjøbenhavn, 1842-6.
---- Danmarks gamle Folkeviser, udgivne af ----. I-V (first half).
Kjøbenhavn, 1853-78. V, completed by Axel Olrik, 1890.
---- Danske Ridderviser, efter Forarbeider af Svend Grundtvig udgivne
af Axel Olrik. 1 Bind, 1, 2 Hæfte. København, 1895-96.
---- Folkelæsning. Danske Kæmpeviser og Folkesange fra Middelalderen,
fornyede i gammel Stil. Kjøbenhavn, 1867.
---- Gamle danske Minder i Folkemunde: Folke-æventyr, Folkeviser,
Folkesagn, samlede og udgivne af ----. Kjøbenhavn, 1854. Ny Samling,
1857.
Kristensen, E. T. Gamle jyske Folkeviser, samlede af Folkemunde (100
Gamle jyske F.; Gamle Viser i Folkemunde). Vols. I, II, X, XI, of Jyske
Folkeminder. Kjøbenhavn, 1871-76, ’89, ’91.
---- Skattegraveren. 12 half-yearly parts. Kolding, 1884-89.
---- Efterslæt til Skattegraveren. Kolding, 1890.
Nyerup, Rasmus. Almindelig Morskabslæsning i Danmark og Norge.
Kjøbenhavn, 1816.
Nyerup, R., og Rasmussen, P. Udvalg af danske Viser fra Midten af det
16de Aarhundrede til henimod Midten af det 18de. 2 vols. Kjøbenhavn,
1821.
Prior, R. C. Alexander. Ancient Danish Ballads, translated from the
originals. 3 vols. London, Edinburgh and Leipzig, 1860.
Madsen, Jens. Folkeminder fra Hanved Sogn ved Flensborg, samlede og
udgivne af ----. Kjøbenhavn, 1870.
Oehlenschläger, A. G. Gamle danske Folkeviser, utgivne af ----.
Kjøbenhavn, 1840.
Olrik, Axel. Danske Ridderviser, efter Forarbeider af Svend Grundtvig
udgivne af ----. 1 Bind, 1, 2 Hæfte. København, 1895.
Pontoppidan, Erik. Everriculum fermenti veteris, seu residuae in Danico
orbe cum paganismi tum papismi reliquiae in apricum prolatae. Hafniae,
1736.
Rahbek, K. L. Læsning i blandede Æmner. Et Maanedsskrift af ----. 4
vols. Kjøbenhavn, 1821-23.
Rask, H. K. Morskabslæsning for den danske Almue, udgivet af ----.
Kjøbenhavn, 1839-46. 4 vols.
[Sandvig, Berthel Christian.] Levninger af Middelalderens Digtekunst.
Kjøbenhavn, 1780, 1784. 2 Hefter.
---- Beskrivelse over Møen. Kjøbenhavn, 1776.
Syv, Peder. Et Hundrede udvalde Danske Viser om allehaande merkelige
Krigs-Bedrivt og anden selsom Eventyr.... Forøgede med det Andet
Hundrede Viser om Danske Konger, Kæmper og Andre. Kjøbenhavn, 1695.
[Vedel, A. S.] Et hundrede vduaalde danske Viser. Ribe, 1591.
Kjøbenhavn, 1632, 1643, 1671. Christiania, 1664.
---- Tragica, eller gamle danske historiske Elskoffs Viser. Kjøbenhavn,
1657.
Dutch, Flemish and Frisian.
Alberdingk-Thijm, J. A. Gedichten uit de verschillende Tijdperken der
Noord- en Zuid-nederlandsche Literatuur, verzameld, naar Tijdsorde
gerangschikt en toegelicht door ----. 2 vols. Amsterdam, 1850-52.
---- and L. J. Oude en nieuwere Kerstliederen. Amsterdam, 1852.
Antwerpener Liederbuch vom Jahre 1544. Herausgegeben von Hoffmann von
Fallersleben. Hannover, 1855. (Horae Belgicae, studio atque opera
Henrici Hoffmann Fallerslebensis, XI.)
Baecker, Louis de. Chants historiques de la Flandre, 400-1650. Lille,
1855.
Coussemaker, E. de. Chants populaires des Flamands de France. Gand,
1856.
Dykstra, W., and van der Meulen, T. G. In Doaze fol alde Snypsnaren.
Oarde en folle formeardere Druk. Frjentsjer, 1882.
Fétis, François Joseph. Histoire générale de la Musique. 5 vols. Paris,
1869-76.
Hoffmann von Fallersleben. Niederländische Volkslieder. Gesammelt und
erläutert. Zweite Ausgabe. Hannover, 1856.
Le Jeune, J. C. W. Letterkundig Overzigt en Proeven van de
nederlandsche Volkszangen sedert de XV^{de} Eeuw. Door ----. ’s
Gravenhage, 1828.
Lootens, Adolphe, and Feys, J. M. E. Chants populaires flamands, avec
les airs notés, et poesies populaires diverses, recueillis à Bruges.
Bruges, 1879.
Snellaert, F. A. Oude en nieuwe Liedjes, bijeen verzameld door ----.
Tweede vermeerderde Uitgave. Gent, 1864.
Nederlandsch Liederboek, uitgegeven door het Willems-Fonds. 2 vols.
Gent, 1891-92.
van Paemel, L., _publisher_. Oude Liedekens in Bladeren. Te Gend, by L.
van Paemel, Boekdrukker op den Brabanddam.
Volkskunde. Tijdschrift voor nederlandsche Folklore, onder Redactie van
Pol de Mont en Aug. Gittée. Gent, 1888-.
Willems, J. F. Oude vlæmsche Liederen. Gent, 1848.
Esthonian.
Dorpater Jahrbücher für Litteratur, Statistik und Kunst, besonders
Russlands. 5 vols. Riga, Dorpat and Leipzig, 1833-36.
Fosterländskt Album. Utgifvet af H. Kellgren, R. Tengström, K.
Tigerstedt. Helsingfors, I, II, 1845; III, 1847.
Hurt, Jakob. Vana Kannel. Alte Harfe. Vollständige Sammlung alter
estnischer Volkslieder. Dorpat, 1875-86. (Erste, Zweite Sammlung,
Dorpat, 1886.)
Neus, H. Ehstnische Volkslieder. Urschrift und Uebersetzung. Neval,
1850.
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INDEX OF MATTERS AND LITERATURE
Aaltrje, Ethel, Adeline, Dutch representative of Fair Annie, II, 66.
Abortion sought by eating of rose, I, 341, 343 f., 354;
savin tree (abbey tree, deceivin tree), III, 387, 393, 396; IV, 510;
sycamore tree, IV, 511;
pile o the gravil, I, 350;
an herb, leaf from the tree, flower, I, 349, 352; III, 386; IV,
456.
Aboulcassem, tale of, I, 282.
Aboulfaouaris, tale of, II, 499.
Aboyne, Earl of, ballad, IV, 311 ff.; V, 270 f., 301.
Acta Sanctorum, I, 239, and n.; II, 510 a; III, 237 n., 241 f.
Adam Bell maintained to be an historical or mythical personage, III,
21 f.
Addison on Chevy Chace; his interest in traditional songs and tales,
III, 305, and n., 306.
Adelheid, Dutch and German representative of Fair Annie, II, 66 f.
Adland, King, father of lady sought in marriage by King Estmere, II,
52 f.
Adler, II, 50-55;
king, 50, and Estmere his messenger;
brother of King Estmere, 51-55, and his nuncio.
Adrian and Ritheus, I, 13 n.
L’Adroite Princesse, imitation of Basile, III, 4, I, 269.
Adultery, noble lady accused of, vindicated by champion or by ordeal,
II, 34-48, 510 b; III, 508 a.
Les Adventures d’Abdalla fils d’Hanif, etc., I, 392.
Adventures of the Cauzee (J. Scotts’s Arabian Nights), II, 43 n.
_Æsop, Life of_, I, 12, 13, and n.;
a clever fence of his, 13.
Af biskupi ok puka, Icelandic legend of Saint Andrew, I, 484 b.
Af Fru Olif ok Landres, Karlamagnus Saga, II, 40.
Af klerk ok gyðingum, legend, III, 240.
Afezzell, Histoire du devin, I, 489 a.
Agilulf, Decameron, III, 2, II, 137 a, 511 b.
Agolafre, V, 244 b.
Aiol et Mirabel, III, 508 a.
Air, importance of, for producing the proper effect of a ballad, II,
204 a.
Airlie, House of, plundered, ballad, IV, 54 ff.
Ajax, flower from his blood, I, 99.
Aladdin, story of, I, 323 n.; II, 127.
Alboazar, V, 4 f.
Alcon, the archer, III, 20.
Aldora, V, 4 f.
Alexander, romances of, III, 322 n.; V, 226 a, 297.
Alexander of Metz, poem and tale, I, 268, 459.
Alfonsus of Lincoln, III, 239.
Áli, IV, 502 b.
Allan Water, a tune, Allan Water, or, My love Annie’s very bonny, a
song, Allan Water, or, a Lover in Captivity, a song, IV, 184.
Allen a Dale married to his true-love by Robin Hood in spite of the
bishop, III, 173 f.
Alpthier, III, 498 a.
Álsól, transformed by step-mother, I, 306 f.
Alvíssmál, I, 13, 419.
Amadas et Ydoine, romance, III, 508.
Amadis of Gaul, I, 267, 308 (Amadis d’Astra); III, 508 b.
Amasis, tasks given to and by, propounds riddles, I, 13, and n.
Amis and Amiloun, Amis e Amiloun, II, 127, 511 b; III, 508 b.
Âmîs and the Bishop, in Pfaffe Âmîs, I, 406.
Ancrum Muir, Battle of, == Lilliard’s Edge, III, 306.
Andrius, the monk, I, 505 b.
L’Andromède et les démons, Lesbian tale, V, 294 a.
Annals of Burton, II, 236 f.;
of Waverley, II, 235;
of Winchester, II, 38 n.
Antonius Liberalis (Metamorphoses of Nicander), I, 84.
Anvár-i Suhailé, tale in, V, 14.
Apollodorus, I, 337, 338 n.
Apollonius of Tyana, I, 485 a.
Apollonius of Tyre, I, 1, 416; IV, 402 b; V, 245.
Apologie pour Hérodote, story in V, 122.
Appetite, monstrous and revolting, of bewitched women, I, 290, 298
f., 301.
Apple, gold, thrown into woman’s lap controls her will, I, 364.
Apple-tree, danger from fairies of sleeping under, I, 340, 350; IV,
455 f.
See I, 319 b, and Ympe Tree.
Apuleius, Metamorphoses, I, 84 f.
Arabian Nights, Thousand and One Nights, Tausend und eine Nacht, I,
11 n., 12 f., 269, 323 n., 402; II, 43 n., 127, 511 b; V, 13.
Ardai Viraf, Arḍâ-Vîrâf, II, 236, 506 f., 513 a.
Argyll. See under Family Names.
Arioald, II, 39.
Arm-ring, bribing to secrecy with, II, 51.
Arms, long arms seemingly regarded as a beauty, II, 168; IV, 415; V,
160 f., 164. (Cf. Chaucer, Canterbury Tales, v. 9476, Tyrwhitt.)
Armstrong, John (Gilnockie), said to have molested no Scotsman,
but to have levied tribute on the English from the border to
Newcastle, III, 364;
makes King James great offers for his life, 365, 370;
appears to have been apprehended by unfair dealing, 365 f.;
hanged, with all his men, 365;
is invited by the king to visit him, and goes with eight score men
gallantly attired, 368 f.;
the king thinks him a king, as well as he, 369 f.;
refused pardon, comes near to killing the king, but is finally
slain, with all his company, 368 f.
Armstrong, William of Kinmouth (Kinmont Willie), made prisoner by the
English in violation of truce, taken by force from Carlisle
castle by Sir Walter Scott, laird of Buccleuch, III, 469-74;
his extraordinary and proverbial rapacity, 471.
Armstrongs, their strength, III, 363;
ravage both the English and the Scottish border, 364 a.
See under Family Names.
Arngosk, Lady of, ballad, IV, 241 ff.
Arrow, bearing, III, 29, 202, 341;
broad, III, 29, 160, 176, 199, 202, 341; IV, 505 f.;
letter sent on an arrow-head, III, 223 f., 231; V, 241 a;
arrow shot to determine place for grave, I, 185 (?); III, 106;
to show where a wife is to be sought, II, 499.
Arthour and Merlin, romance of, IV, 479 b.
Arthur, King, I, 257-67, 271-3, 283-91, 289-91, 293-6;
his custom of not dining until he had had or heard of an adventure,
I, 257, 263; III, 51, and n.
So Robin Hood, III, 51.
Arthur a Bland, tanner of Nottingham, kinsman of Little John, III,
137;
the tune, 133, and n.
Arthur a Bradley, a ballad, III, 215, 217.
Arthur’s seat shall be my bed, song, IV, 105.
Artificial curiosities, wand with three singing living lavrocks
sitting thereon, etc., I, 201 f., 205, 503; III, 501 b; IV, 450
b.
Artiga, V, 4 f.
Atamulc, story of, V, 13.
Athelbrus, steward of King Ailmar, and tutor of Horn and his
comrades, I, 188 f.
Atherly. See John of Atherly.
Athulf, Horn’s faithful friend, I, 188, 190.
Les Aubrays, Lizandré, Breton knight, kills a Moor by receiving him
on the point of his sword as the Moor leaps in the air, II,
378; III, 276.
Audam and Doorkhaunee, Afghan poem, I, 98.
Augur (wimble) bore, lady first seen, or courted, through
an, I, 202, =B=, 205, =F=, 206, =H=;
first and only sight, I, 255.
Auld Man == Devil, =I=, 18, =I=.
Auld Robin Gray, a play, V, 88.
Die Ausgleichung, I, 265.
Austerities vowed by actors in tragic stories, as tributes of grief,
penances, etc., II, 156 f., 159, 162 f., 165 f., 175, 177, 179,
258, 318 f.; IV, 97, 360, 433; V, 223 a.
Austrríki, I, 460 n.
The Avowynge of King Arthur, metrical romance, I, 209.
Ayrer’s plays, V, 24 f., 97.
Baba-Yaga, I, 484 a.
Baffling malice with ready answers, I, 20-22, 485; III, 496; IV, 440.
Bahome, Bee Hom, II, 318 f.
Baillie Lunnain, Gaelic tale, I, 191 n.
Balcanqual, II, 337.
Balewise, bæliwis, I, 67 n.
Balfour, John, called Burly, IV, 106 f.
Bandello, Novelle, I, 269; II, 42; III, 258; V, 23 n.
Banier, Sir (==Sir Beduer, Bedewere?), I, 295.
La Barbe Bleue, I, 47.
Barberine, A. de Musset, I, 269.
Y Bardd Glas Keraint, II, 136, 511.
Der Bärenhäuter, tale, I, 198.
Barnard, Bernard, Barnet, Burnett, Burnard, Lord, II, 244-8, 251 f.,
256-8, 266-74.
Barnsdale, III, 50 f.
Barrel spiked, punishment of rolling or dragging in, II, 343; IV, 30
n., 32; V, 48.
Barton, Sir Andrew, maintained by the English to be a pirate, III,
335 f., 339, 345, 352; IV, 503;
his dangerous “beams,” III, 337, and n., 338, 340 f., 344 f., 349;
IV, 504 f.;
his ship brass within and steel without, III, 340, 344, 349; IV,
504;
and magnificently ornamented, III, 340, 342;
boasts that he once salted thirty heads of the Portuguese, and sent
them home to eat with bread, IV, 505;
300 crowns (500 angels) tied about his middle, when his body is
thrown overboard, to secure burial, III, 342; IV, 506.
Basile, Il Pentamerone, I, 269, 461 n.; II, 127; V, 48.
Bastars de Bullion, Li, romance, V, 6.
Bathing for recovering human shape, I, 308, 338, and n.; II, 505;
III, 505; V, 39 f.
The Battle of Harlaw, of Hara Law, a tune; The Battle of Hardlaw, a
pibroch, III, 318. See Harlaw.
Beating of daughters, I, 192; II, 435; V, 237 a.
Beaumont and Fletcher, Knight of the Burning Pestle, I, 105; II, 199,
243, 457 n.; V, 201 f.;
The Spanish Curate, I, 239 n.;
Monsieur Thomas, II, 10, 243; III, 294, 331;
Bonduca, II, 243; V, 202;
The Pilgrim, II, 457;
The Two Noble Kinsmen, II, 506 b; V, 133, 202;
Philaster, III, 129.
Beauty and the Beast, La Belle et la Bête, tale, I, 308, 313 f.
Becket, Gilbert, romantic story of, I, 457 f.
Becket, Thomas, stands by his votaries, I, 505 a.
Beeldwit, I, 67.
Beggar (palmer), Hind Horn changes clothes with, I, 189, 191 f.,
202-7;
Robin Hood, III, 178-82, 184;
Little John, III, 188;
Wallace, III, 271, 273;
other disguises as beggar or pilgrim, V, 2, 4, 5, 279 f.;
beggar who receives girl’s favors turns out to be a person of high
degree, V, 109 ff., 116 ff., 305 a.
The Beggar and the Five Muffins, Eastern story, V, 281.
Beggar and Robin Hood, III, 156, 159;
beggar (beggars) and Little John, III, 188 f.
Beggar’s dress and equipment, II, 436 f. (61, 78).
Die beiden Fürsten, Turkish tale, I, 10.
Beket. See Becket.
Le Bel Inconnu, Libeaus Desconeus, I, 308; II, 51, 510 b.
Bele Ydoine, romance, IV, 482 a.
Belewitte, I, 67.
La Belle et la Bête, I, 308 n., 313 f.
Bellerophon’s sons and Sarpedon, III, 20.
Bells, numerous, on horses, I, 320 n.; V, 290 a;
on every lock of horse’s mane, I, 323; II, 189, 191, 344; IV, 410,
413;
mane and tail, II, 194;
twenty-four on horse’s mane, II, 183, 185;
hung at every corner of a ship, IV, 462 a;
bell sewed to every stitch of a cap for a (supposed) dead girl,
III, 364; IV, 483;
bells ring of themselves, I, 173, 231; III, 235, 244, 519 f.;
bells rung backward as an alarm, III, 26;
girl sold for a new church-bell, I, 91 f.
Belly-blind. See Billie Blind.
Beloe’s Oriental Apologues, V, 97.
Benbow, Admiral, V, 147.
Benediction in church, merman’s (human) wife must not stay till, or
expose herself to, I, 366;
nix flies from, ib., n.
Bengwill, Benwall, Brangwill, Lord, I, 62, 76, 78; II, 253.
Béowulf, I, 50, 54 n.; II, 56.
Der Berghüter und seine kluge Tochter, Transylvanian tale, I, 8.
Berkeley, Witch of, V, 298 a.
Bernabò Visconti and the Abbot, tale of Sacchetti, I, 406.
Bernard, Lord. See Barnard.
Bernard de Brusban, of the twelve peers, I, 278.
Bernardo del Carpio, III, 367.
Bertha im Wald, children’s game, I, 33 n.
Berthold von Neuhaus, I, 198.
Bertrand, Nicolas, I, 237 f.
Bessy Bell, nursery song, IV, 75;
Bessy Bell and Mary Gray, ballad, 75 ff.
Der betrogene Betrüger, tale, I, 47.
Bewick and Graham, ballad, IV, 144 ff.
Bewsey, a poem, III, 329.
Bias extricates himself from tasks, I, 13, and n.
The Bible, I, 51 f., 245, 271, 282 n., 404, and n.; II, 14 n.
Bier half gold, half silver, I, 506; II, 358 f., 362, 366; V, 224;
with ae stamp o the melten goud, another o silver clear, IV, 471.
Bil-eygr, böl-eygr, appellatives of Odin, I, 67.
Billie (Bellie) Blind (Blin), I, 63, 67, 73, 86, 466 f.; II, 458,
464, 470, 472; IV, 494; V, 239.
Bilvís, bilwiz, I, 67; V, 285 b.
Binyan’s Bay, I, 24, 61 b.
Birds:
bird takes a message or carries a letter, II, 113 n., 356-60, 362
f., 365 f.; III, 4, 8; IV, 412, 482, 484 f.; V, 234;
bird (parrot, pyet, popinjay) comments on a murder it has
witnessed, murderess tries in vain to entrap him, II, 144,
146-52, 154;
testifies to the murder, 153, 155;
warns maid of danger, I, 31-5, 37; II, 496 f.; IV, 441; V, 285;
warns lover of mishap, II, 206 n.;
warns mother that her son tarries long, III, 10;
(nightingale, lark) reveals maid’s death (being really the soul of
the dead), I, 180, 181;
speaks to encourage Fair Ellen, I, 90, 92, 95; V, 221;
bird informs knight of wife’s infidelity, II, 260;
bribes or promises to birds for services, 1, 57-60; II, 144, 146
f., 149-52, 154, 359; IV, 389 f., 416;
partridge betrays the hiding-place of the Virgin, II, 8;
quail plays partridge’s part, swallow befriends the Virgin, II, 509
f.;
birds call out in human voice at seeing a living woman riding
behind a dead man, V, 65;
lover in bird-shape (or coat), V, 39-42.
Birth arrested, I, 82-87, 489; III, 497. See Childbirth.
Bitte mette, Danish tale, I, 489 a.
Björner’s Kämpadater, I, 50, 259; II, 57 n.
The Black Bull of Norroway, tale, V, 201.
Blak, the horse, I, 96.
Blind Harry’s Wallace, III, 109, 191, 265, 266.
Blind the Bad, Blindr inn bölvísi, I, 67, 95.
Blinde belien, I, 67.
Blindr inn bölvísi, I, 67, 95.
Blonde of Oxford and Jehan of Dammartin (Jehan et Blonde), romance,
I, 191 n.; V, 287 b.
Blood:
blood of children or virgins reputed a cure for leprosy, I, 47, 50
n.; IV, 441 b; V, 285;
blood of Christians in Hebrew rites, III, 240-3; IV, 497 a;
blood, drinking to dissolve enchantment, I, 337, and n.;
blood, emission of, from dead body on being touched or approached
by the murderer, II, 143, 146, 148, 153; IV, 468 a.
Blood stanched with a charm, II, 441, 445, 450.
Blood-relations refuse to ransom a captive woman, a woman about to be
hanged; done by husband or lover, II, 346-9, 350-3; III, 516;
IV, 481 f.; V, 231-4, 296;
the same story, with parts shifted, of a man ransomed by his
mistress, II, 349 f.; III, 516; IV, 481; V, 233 f., 296;
Finnish and Esthonian versions, V, 231-3.
Blow thy horne, hunter, fragment of a song, I, 209; IV, 451.
Blue, fortunate in love matters, II, 182, 512 a;
symbolic of good faith, thy coat is blue, thou hast been true, III,
479 (6), 481 (6).
Bluebeard, La Barbe Bleue, I, 47, 49 n., 50 n., 54.
Boar, terrible, in romantic tales, I, 209-14; II, 500 a.
Bocca della verità, I, 270 n.
Boccaccio, Decamerone, I, 197 f., 457 n.; II, 128, 137, 156 n.; III,
258; V, 23 nn., 29, 30, and n., 31, and n., 32, and n., 33, 303
a.
Bodman, I, 198.
Boiling to death, in a caldron, molten lead, in oil, or throwing into
boiling oil, II, 321 n., 327; IV, 480 a; V, 53, 56, 230, 281.
Böl-eygr, I, 67.
Bölverkr (Odin), I, 67.
Bölvís, I, 67. See Blindr.
Bone Florence of Rome, Le, romance, III, 235.
Bonny Lass o Livingston, song, IV, 232 n.
Books in church read without man’s tongue, III, 244.
Boon of being allowed to fight at odds rather than be judicially
executed (cf. No 141) in South Slavic songs, IV, 497 a.
Boots pulled off half-way, to embarrass a gallant, II, 482; IV, 495 a.
Borde, Andrew, I, 237 n., 238.
Bore, Sir (==Sir Bors?), I, 293, 295.
Bosworth Field, a history in ballad verse, III, 307, 331 f., 354 n.
Bothwell, Earl, ballad, III, 399 ff.
Bothwell Bridge, Battle of, ballad on, IV, 108 ff.
Bow, bent before swimming, II, 114, 116 f., 119, 121 f., 129, 177,
212, 257, 272, 313, 379, 395; IV, 229, 398;
slacked to swim, II, 250;
slacked to run, II, 116 f.; IV, 229;
bent to leap wall, II, 115-17, 129, 177, 272, 313; IV, 229.
Bow shots:
six score paces, to cleave apple on boy’s head, III, 17, 29;
twenty score paces to split a rod, III, 29;
three score rood (330 yards), III, 93;
a hundred rod, III, 176;
fifteen score (300 yards), III, 201, 203;
(not to be taken seriously) a mile, or half a mile and more, and
through an armed man at the end, III, 54;
two north-country miles and an inch, III, 215.
Bower, Scotichronicon, III, 41, 43, 96, 266, 282, and n., 292, and
n., 305, 316, 476 nn.
The Boy and the Mantle, ballad, I, 257 ff., etc.;
story in Welsh, I, 265 nn.
Boy baffles carlin by ready answers, I, 21.
Brackleys, several, murdered, IV, 80-83, 522;
Baron of Brackley, ballad, 79 ff.
Brags, gabs, vows, I, 277 f., 281-3, 285; II, 502.
Brand and ring, choice given to maid, signifying the death of
violator or marriage with him, II, 469; IV, 493; V, 28, 238.
Brand, Right-hitting, III, 43 n.; V, 297 a.
Brandimarte, in Orlando Innamorato, I, 308.
Brangwain, Isold’s maid, I, 67.
Bread. See Communion bread.
Bredbeddle, one of Arthur’s knights, I, 280.
Bremor, king of Spain, demands the hand of King Adland’s daughter,
II, 52-4.
Bride accidentally but fatally wounded by bridegroom’s sword while he
is bringing her home (Graf Friedrich), I, 142 f.;
bride assigned by dying man to his brother, I, 376, 378, and n.;
she will not give her troth to two brothers, I, 376, 378, and n.;
bride, wife, whose bridegroom, husband, has died is put off with
false explanations, I, 376-9, 381, 383-87;
bride carried off by lover on the day she was to wed a rival, IV,
218, 230; V, 260 f.
Bridegroom caressing bride while taking her home killed by her
brother, I, 142;
bridegroom killed on his way to fetch the bride, I, 386;
bridegroom drowned on the way to his wedding, IV, 179-183, 189 f.;
V, 257;
lover drowned on his way to visit his mistress, IV, 185.
Brome, brome on hill, song, I, 390.
The broom blooms bonny and says it is fair, I, 450.
The Broom of Cowden Knowes, O the broome, the bonny bonny broome,
tune, IV, 192, 208.
Brother’s consent to a sister’s marriage, importance of obtaining, I,
142;
brother whose consent has not been asked kills his sister as she is
riding to or from the wedding, I, 145-50;
brother flogs to death unmarried sister who has had a child, II,
102.
Brown, Andrew, his services to James VI, III, 442-6.
Brown bride despised for her complexion, II, 182-97;
brown girl rejected for this reason, V, 167 f.
See also I, 120, 133 (=M= 10), 135 (1).
Brown Robin, II, 305 f., 368, 371, 418.
Bruce, David. See David Bruce.
Die Bruck zu Karidol, I, 267, and n.
Buccleuch, Sir Walter Scott of, rescue of Kinmont Willie, III, 469
ff. See under Family Names.
Bulat and Ivan, tsar’s son, Russian tale, V, 46.
Bunion Bay, I, 24, 57.
Burden, burden-stem, I, 7 n., 484 a; II, 204 n.
Burial, gold bound round bodies thrown into the water, to secure, II,
14; III, 342; IV, 502 b, 506 a; V, 245.
Buridan and the Queen of France, tale, IV, 502.
Burlow-beanie, a variety of Billy Blin (here a loathly fiend, with
seven heads), I, 286 f.
Burnet, Burnett. See under Family Names.
Burning, penalty for incontinence (in Danish ballads, for incest),
II, 41, 43 f., 46-8, 113-125; III, 508 b; V, 292 b.
Burns, Robert, author of Kellyburnbraes, V, 107;
his Hallowe’en, V, 286 a.
Butler, Sir John, his murder and the ballad thereon, III, 327 ff.
Buttons bursting, as a consequence of violent emotion, II, 186; IV,
101, 302;
waistcoat bursted, IV, 185;
stays, gown and all, IV, 320.
By Lands-dale, hey ho, song, III, 54.
Byliny, Russian popular epics, I, 200 (II, 499 f.); II, 15, and n.,
502; III, 122, 501 b; IV, 463, 497 a, 499 a; V, 2;
Bulgarian, IV, 463.
Byron, Child Harold’s Pilgrimage, III, 91; IV, 36.
Caberstaing, Guillems de, story of, V, 33.
Cæsarian operation, three and five wives die successively thereof,
II, 309 f.;
six sisters (and the seventh doomed), 311-16, V, 227-9;
in the case of Queen Jane, III, 373-6; V, 245 f.;
in Danish ballad, I, 83.
Cæsarins Heisterbacensis, Dialogus Miraculorum, I, 197, 237.
Calaf, Prince, Persian story, I, 417.
Calender, tale of the Second, I, 402.
Campbell. See under Family Names.
Campbell, Bonny James, ballad, IV, 142.
La caña del riu de arenas, Catalan story, I, 125.
Cane (walking rod), ridiculously introduced. See the commonplace of
mantle and cane (under Commonplaces); also, IV, 190, 421; V, 16
f.
Car, Ker, Captain, III, 424-7, 430-2.
Caradawc, I, 265; V, 289 a. See Carados.
Carados (Briebras, Brisié Bras), I, 258, 261 n., 263-5;
Caradawc Vreichvras, 265;
variations of the name Carados, I, 264 n.; V, 289 a.
Carduino (Le Bel Inconnu), Italian romance, I, 308.
Carevič i ego Sluga, The Prince and his Servant, Russian tale, V, 281.
Carl Blind, surnamed Bavís, I, 67, 95.
Carl Hood, old, I, 67, 92, 95, and n., 489; IV, 443 f.
Carl of Carlile, rhymed tale, I, 290 n., 301 n., 316; V, 289 a.
Caskets, riddle of the three, I, 13.
Cassilis. See under Family Names.
Catharine I., Empress of Russia, III, 383.
Cawfield, Archie of, ballad, III, 484 ff.
Ce qui plaît aux Dames, Voltaire’s tale, I, 292.
The Ceabharnach, West Highland tale, III, 507.
Le Centi Novelle Antiche, V, 34.
Chains of gold, servants in waiting wear, I, 410.
Chambers, Robert, his contention that Lady Wardlaw was the author of
Sir Patrick Spens and other ballads, II, 20 n.
Champion, diminutive, successful against huge and dangerous
antagonist in judicial combat, II, 35-37, 37 n., 38, 39?, 43
n., 45 f. See Child-champion.
Change of clothes with beggar, palmer, I, 189, 191, 192, 202-207;
III, 157, 179, 181 f., 184, 188, 271, 273 f.
Change of parts of man and woman in different versions of the same
or a similar tale, I, 142, 187, 455, Nos 17, 53; 298; II, 236,
349, 426; IV, 186; V, 34, 296.
Charcoal-burners, III, 109; V, 6, 70 f., 75, and n.
Charlemagne’s Journey to Jerusalem, I, 274-9; III, 503 b.
Charles the Fifth (emperor) and a broom-maker; and a peasant; Belgian
stories, V, 74.
Charles the Great and the charcoal-burner, rhymed tale, V, 70 f.
Charm:
knight obliges lady to go off with him by sticking a charm in her
sleeve, I, 57;
charm or rune employed to induce sleep, I, 28, 48, 55, 391.
Charrois de Nymes, Li, chanson de geste, V, 298 a.
Charter of peace sought by outlaws, III, 27.
Chastity, or fidelity in love, tests of, I, 258-71, 507 a; II, 502;
III, 503; IV, 454 a; V, 212 f., 289 a.
Arch, sword and garland in Amadis which test the fact and the
measure of faithful love, I, 267.
(Talking) bed, blankets, pillows, rug, sheets, I, 64 f., 68, 70.
Bridge in the younger Titurel which cannot be passed by knight or
lady faulty in matter of love, I, 267.
Brook which tests virginity, I, 269.
Chair, golden, in which none but a maid will sit till bidden, I, 72
f.;
can sit, 75.
Crown that exposes the infidelity of husbands, I, 266 f.
Cup from which no man or woman can drink who has been false to
love, I, 264.
Cup of tears in Palmerin of England which tests the best knight
and most faithful lover, I, 267.
Flowers (lotus, rose) or evergreen which keep fresh as long as wife
or man and wife are faithful, I, 268.
Glove as test of virtue of man or woman, I, 266.
Harp which plays out of tune and breaks a string on the approach of
a girl who has lost her maidenhead, I, 269.
Horn, or drinking-cup, probation of wife’s chastity by husband’s
drinking from, I, 262-265, 273;
by wife’s, 264.
Jacinth will not be worn on the finger of an adulterer, V, 289 a.
Knife, cuckold’s knife cannot carve a boar’s head, I, 273.
Mantle, probation of wife’s fidelity by, I, 260-2, 265; V, 289 a;
this mantle preserved in some religious house or at Dover, I, 261
n.;
Karodes’s mantle which would fit no woman who was not willing
that her husband should know both her act and her thought, I,
261.
Mirror which indicates the state of a woman’s fidelity, I, 269.
Nightingales, I, 64 f.
Olive refuses to grow, V, 289 a.
Picture (wax image) which by its color indicates the state of a
wife’s fidelity, I, 269.
Ring which by its color indicates the condition of a woman’s
fidelity, I, 269.
Robe which will fit only the pure woman, I, 262.
St. Wilfred’s needle, in Ripon Minster, V, 212 f.
Shirt (mantle) will not soil, spot, etc., as long as husband and
wife, or wife, keeps faithful, I, 268.
Statue which shows whether a young woman is a maid, I, 269 f.
Stepping stone at bed-side, if stepped on, reveals unchastity, I,
66.
Stone, Aptor, red to the sight of clean man or woman, I, 269.
Stone which cannot be approached by one who is not as clean as when
born, I, 269 n.
Sword, given by husband to wife, will not spot as long as he is
faithful, I, 268.
Valley from which no false lover could escape till it had been
entered by a lover perfect in all points as such, I, 267.
Clean maid can blow out a candle with one puff and light it with
another, make a ball of water, or carry water in a sieve, I,
270.
Egyptian test (Herodotus), I, 271; V, 212 f.
Ordeals for chastity in Greek romances, brazier, cave, Stygian
water, statue of Diana, I, 270.
Test of chastity of women in Numbers and Apocryphal gospels, I, 271.
Le Chat Botté, tale, I, 461 n.
Le Châtelain de Couci et la Dame de Faiel, romance, V, 33.
Chaucer, Wife of Bath’s Tale, I, 291 f.; II, 458;
Squire’s Tale, II, 51;
Prioress’s Tale, III, 239;
Clerk’s Tale, IV, 93 n.;
Sir Thopas, V, 287 b;
House of Fame, II, 136.
Cheese of Fyvie as a love potion, V, 305 b.
Chera, V, 13.
La Chevalerie Ogier de Danemarche, I, 239, and n.
Du Chevalier à la corbeille, fabliau, V, 121.
Le Chevalier au Cygne, romance, III, 515 b.
Le Chevalier à l’Espée, fabliau, III, 508 a.
Li Chevaliers as Deus Espees, romance, III, 505.
Du Chevalier qui fist sa femme confesse, fabliau, III, 258.
Du Chevalier qui coit la masse, et Notre-Dame estoit pour lui au
tournoiement, fabliau, III, 96 n.
Cheviot, Hunting of the, ballad, III, 303 ff.
Child, children, living, buried with dead mother, I, 180, 185; IV,
450 a (No 15);
child, young or unborn, speaks miraculously, to save life,
vindicate the innocent, or to threaten revenge, III, 367, and
nn.; IV, 507 a; V, 298 a.
Child Rowland and Burd Ellen, tale, I, 322; V, 201.
The Child of Wane, boy who protects school-girls from the assaults
of his fellows, I, 308 n.
Childbirth, man’s help rejected and presence forbidden at, I, 179,
181-3, 245 f., 502 a; II, 98, 106 f., 414, 418, 422, 499; IV,
450 a, 464; V, 236;
pains of woman in childbirth repeated in the person of the man, II,
109; V, 292;
roddins (mountain-ash berries), juniper, desired by a woman at the
point of childbirth, II, 408 f., 414;
first child, all the seven sisters of a family to die thereof, and
six have so died, II, 311-16;
woman who has just borne a child to a lover, forced to marry
another man, dances with her lover, and falls dead, II, 104-8,
110; IV, 465;
knots in woman’s clothes, or knots in the house, to be untied at
childbirth, I, 85;
all locks to be shot during, II, 498;
mortal midwives and nurses desired by fairies, I, 358-60; II, 505
f.; III, 505 f.; IV, 459 a; V, 215 b, 290 b;
woman gives birth to child (children) in stable, among the great
horse feet, II, 85, 87, 89, 91 f., 94 f., 97-9; V, 221;
top of tree as place for labor, II, 109.
Childbirth obstructed by spells, I, 82-7; V, 285 b;
seven, nine days, three, seven, eight, twenty years, I, 82-85;
by the Fates and Ilithyia sitting down and folding their hands, by
Lucina’s crossing knees and clasping hands over them, 84;
by throwing an enchanted pitcher into a draw-well, driving a nail
into the roof-beam, placing folded hands between the knees, 85;
spells broken by persuading the operator that birth has taken
place, I, 82-87.
See, further, I, 489; III, 497.
Child-champions, marvellous valor of, II, 37, 43 n., 45 f.; V, 292 a;
in Slavic tales, IV, 463;
cf. Growth, marvellous, etc.;
child (or dwarf) fights with huge or otherwise formidable
adversary, II, 35-37, 43 n., 46.
Children born seven, eight, twenty years old (in consequence of
obstructed parturition), I, 83-85.
Children of unwedded mother who has died in giving them birth buried
alive with her by the father, I, 180.
Children’s game, ballads that have become, I, 33; II, 346.
Choice of sword or ring given maid, to stick him wi the brand or wed
him wi the ring, II, 469; IV, 493; V, 28, 238.
Chrétien de Troyes, Cligés, III, 517 b; V, 2, 6;
Erec, III, 507 a;
Perceval le Gallois, I, 257 n., 261 n., 263, 265 n., 269; II, 51,
502 b, 510 b; III, 503 b, 508 a; IV, 454 a; V, 289 b.
Christian IV of Denmark and a countryman, Danish tale, V, 74.
Chronicles cited as authority in ballads, III, 297, 333, 360.
Claverhouse, IV, 105-107, 109 f.;
accused of procuring Monmouth’s execution, 109 f.
Clergy accused of adultery with noble ladies, II, 34-36, 38.
The Clever Lass, Clever Wench, or Wise Daughter, I, 1, 8-13;
answers king’s puzzles, performs or offsets his tasks, 9;
answers questions or performs supposed impossibilities and is
married for it, 9-11;
solves difficult questions and is elevated by king to the rank of
his sister, 12.
See I, 409 n., 410 n., 484 a; II, 495 a; IV, 439 a; V, 284.
Clifton, assumed name (ineptly) for Scathlock, III, 201, 204.
Clitophon and Leucippe of Achilles Tatius, I, 270.
Clorinda, queen of the shepherds, espoused by Robin Hood, III, 217.
Clothes kilted (cut) a little above (below) the knee, hair braided
(snooded, cut) a little above the brow, I, 341, 343 f., 369;
II, 86, 229, 417, 420, 423; IV, 457.
Clyde Water, I, 389; II, 32, 88 f., 92, 94, 97, 144-7, 151-5, 461;
IV, 188-90, 203; V, 208, 227, 237, 257.
Coach and three, I, 476 f.
Cober, Cabinet-prediger, I, 408.
Cock (capon) crows Christus natus est! I, 240-2, 505 f.; II, 501 b;
IV, 451 f.;
miracle of the roasted cock reanimated, I, 233-242, 505; II, 8, 501
b; III, 502 f.; IV, 451 f.; V, 212 a, 288 a;
originally a feature in a legend of Judas, I, 239 f.
Cock, unfaithful or remiss, IV, 389 f., 416.
Cocks (crowing in the night), three, white, red, black, II, 228; V,
294 a;
two, red, grey, II, 229, 239;
milk-white, grey, II, 233; IV, 474;
white, red, III, 514.
Cognizances, parties in The Rose of England (a ballad of Henry VII’s
winning the crown) mostly indicated by, III, 331.
Cokwolds Daunce, English comic tale, I, 264.
Commonplaces (recurrent passages):--
When bells were rung and mass was sung,
And a’ men bound to bed,
I, 68, 70, 73; II, 70, 73, 75 f., 79, 88, 90, 129 f., 132, 191,
300, 370, 470, 472; III, 244-7, 254; IV, 44 f., 237 f., 240, 283,
327, 432, 470; V, 171, 224, 239.
Lord William was buried in St. Mary’s Kirk,
Lady Margret in Mary’s quire;
Out o the lady’s grave grew a bonny red rose,
And out o the knight’s a briar.
And they twa met, and they twa plat,
And fain they wad be near, etc.,
I, 101 f., 492; II, 104, 108, 111, 183, 185, 190 f., 198, 201 f.,
207 f., 210-12, 219, 280, 285 f.; III, 515; IV, 465; V, 224, 226,
262.
Where will I get a bonnie boy,
Will win gold to his fee?
O here am I, etc.,
II, 114, 116-19, 121, 123 f., 129, 131, 177, 186, 188, 190, 194,
212, 284-7, 311, 313, 316, 379, 394 f.; IV, 229, 235, 398, 466 f.,
486, 488; V, 227.
O whan he came to broken briggs
He bent his bow and swam,
An whan he came to the green grass growin
He slackd his shoone (set down his feet) and ran,
II, 114 f., 117, 119, 121 f., 129, 177, 212, 247 f., 250, 253, 257,
272, 287, 311, 313, 379, 395; IV, 229, 398, 466 f., 477; V, 228,
262.
O whan he came to Lord William’s gates,
He baed na to chap or ca,
But set his bent bow till his breast,
An lightly lap the wa;
An, or the porter was at the gate,
The boy was i the ha,
II, 115-17, 129, 177, 272, 313; IV, 477; V, 228.
O is my biggins broken, boy?
Or is my towers won?
Or is my lady lighter yet
Of a dear daughter or son?
Your biggin is na broken, sir, but--,
II, 115-19, 122 f., 131 f., 212, 248, 250, 253-5, 257; IV, 467, 477.
O saddle me the black, the black,
Or saddle me the brown:
O saddle me the swiftest steed
That ever rade frae a town,
II, 115-18, 120-13, 212, 216-18, 254, 312 f.; IV, 234, 236, 467,
477; V, 228, 262.
O where is a’ my merry young men
Whom I gie meat and fee?
I, 368 f., 396; II, 114, 123, 266-8, 403; III, 10; V, 35, 37, 292.
O is your saddle set awrye?
Or rides your steed for you owre high?
(saddle, bridle, stirrups, or something, not comfortable for
maid who is riding),
I, 66, and n., 68, 70, 72, 75-7, 79 f., 146, 179; IV, 450 a.
The first line that Sir Patrick red,
A loud lauch lauched he;
The next line that Sir Patrick red,
The teir blinded his ee,
II, 18 n., 20 f., 26 f., 29 f., 381 f., 385, 387, 389 f., 392 f.,
395; IV, 117-121, 351-4, 413, 483, 486.
Gown narrow that was wont to be wide;
coats short that were wont to be side, etc.,
II, 85, 122, 399, 401, 406 f., 409, 413; V, 36, 236.
I’m oer laigh to be your bride,
And I winna be your whore,
II, 181, 188; IV, 323, 325, 327, 330-32; V, 272.
Janet has kilted her green kirtle
A little aboon her knee, etc.,
I, 341, 343 f., 369; II, 86, 229, 417, 420, 423; IV, 457; V, 202 a.
(Pretence that a maid is trespassing in a wood.)
She had na pu’d a double rose,
A rose but only twa,
Till up there started young Tam Lin,
Says, Lady, thou’s pu nae mae,
I, 41, 341, 343, 345 f., 349, 360, and n., 367, 369, 450-53; III,
504; IV, 456 f.
He took her by the milk-white hand,
And by the grass-green sleeve, etc.,
I, 346, 349, 357 b, 387, 452 f.; II, 465, 468, 475; IV, 193,
195-200, 203, 205 f., 456; V, 239. Cf. IV, 219-22, 225-7, 229.
O syne ye’ve got your will of me,
Your will o me ye’ve taen,
‘T is all I ask of you, kind sir,
Is to tell me your name.
Sometimes they call me Jack, he said, etc.,
I, 346, 444, 446, 450 f.; II, 458, and n., 459 f., 462, 465, 468,
471, 473-5, 478 f.; IV, 196, 200; V, 153-6, 237, 239.
(Dower despised.)
I’m seeking nane o your gold, he says,
Nor of your silver clear,
I only seek your daughter fair, etc.,
II, 380, 382 f., 385 f., 388, 390 f., 393 f., 396, 400 f., 403-5;
IV, 381 f., 399, 413 f., 487; V, 184, 276.
Lord Wayets lay over his castle-wa,
Beheld baith dale and down,
And he beheld, etc.,
I, 183; II, 131, 175, 257, 343 f.; IV, 235, 279, 403 f., 408, 433;
V, 277 f.
Hold your tongue, my daughter dear,
And ye’ll lat a’ your mourning be;
I’ll wed you to a higher match, etc.,
II, 163, 166; IV, 96-103, 166-72, 174 f., 277, 279.
If this be true, a reward; if a lie, hanging,
II, 244 f., 247-9, 251, 253-5, 257; III, 299; cf. II, 114.
Ffor because thou minged not Christ before,
Thee lesse me dreadeth thee, II, 59, 62; III, 422.
Sheet (sark, smock) for the dead, one half cambric,
the other needlework
(beaten gold and needlework; silk and cambric),
bier one half gold, the other silver,
I, 506; II, 358 f., 362, 366; IV, 471 (IV, 485, bier lacking; V,
224, sheet or sark lacking).
Horse: Wi siller he is shod before,
Wi burning gowd behind,
I, 341; II, 183, 185, 191, 194, 266 f., 315, 343 f.; V, 224.
The day ye deal at Annie’s burial
The bread but and the wine;
Before the morn at twall o’clock
They’ll deal the same at mine,
II, 190 f., 193, 195, 201, 203, 208, 211 f., 217, 219, 295; IV,
236, 465, 471; V, 224, 262.
It’s kiss will I yer cheek, Annie
And kiss will I your chin, etc.,
II, 191, 212, 217, 219, 221 f., 269, 273; IV, 236 f., 474.
She’s put it to her fause, fause cheek,
But an her fause, fause chin,
She’s put it to her fause, fause lips,
But never a drap went in.
He’s put it to his bonny cheek, etc.,
II, 284 f., 287; IV, 235, 427 f., 431.
The firstin kirk (town) that they came till
They gard the bells be rung,
At the nexten kirk that they came till
They gard the mass be sung,
II, 358, 350 f., 367, 380, 385, 388 f., 391 f., 396, 469;
IV, 487 f., 490.
Johnny Barbary used to be the first,
But now the last came he,
II, 401, 403, 460 f., 463, 466, 469, 471, 473-6; IV, 491; V, 238.
She’s taen her mantle her about,
Her cane (pike-staff, rod) intill her hand,
II, 223; III, 245, 248, 505; IV, 408 (6);
of man, II, 370; IV, 408 (14). (Corrupted, also, III, 250, 252.)
She’s taen her mantle her about,
Her coffer by the band,
I, 350; III, 244; IV, 385. Cf. IV, 456.
She’s taen her petticoat (petticoats) by the band,
Her mantle owre her arm,
I, 348, 349 (_bis_); II, 475.
The knight he knacked (wrung) his white fingers,
The lady tore her hair,
II, 26, 312-15, 319; III, 455, 477; IV, 418, 435; V, 227-9.
Will ye gae to the cards or dice, etc.,
II, 109, 154, 164, 409; IV, 391, 415.
(Wedding procession.)
Wi four-and-twenty buirdlie men
Atween ye and the wun,
And four-and-twenty bonnie mays
Atween ye and the sun.
Four-and-twenty milk-white geese,
Stretching their wings sae wide,
Blawing the dust aff the high-way,
That Mild Mary may ride,
II, 315. See II, 132, 183, 195 a; IV, 470.
I’ll gae in at your gown-sleeve,
And out at your gown-hem,
I, 508; II, 366.
Man and woman riding, no word spoken by either (or by one of them)
for a long distance,
I, 41-44; III, 497 b; V, 207 a, 285 a (in French, Italian, Spanish,
Catalan, Scandinavian, Slavic; not English).
Communion-bread called “God,” etc.,
III, 103 n.; V, 240, 299, 359 (under _mood_).
The Complaynt of Scotland,
I, 336, 390; II, 51 n., 296; III, 292, 303, 317, 362 f.; V, 202.
Compulsory marriage, woman carried off,
III, 329; IV, 232-54, 308-10; V, 168 f., 261-264.
Confession, wife’s, heard by husband disguised, III, 258-64.
The Constant but Unhappy Lovers, chap-book, V, 33.
Constantine, Emperor, his leprosy miraculously cured, V, 285.
Conte du Graal, Gautier’s, ugly lady in, V, 289 b.
See also Chrétien.
Contes à rire, I, 268 n., 408;
Nouveaux Contes à rire, I, 408.
Conversion, remarkably sudden, of Jean Livingston, IV, 29 f.
Copland, John of, takes David Bruce prisoner at Durham, III, 286.
Corgarf Castle, III, 427, 434.
Cork-heeled shoon, II, 20, 22 f., 27, 29 f., 88; III, 393.
Corsabrin, King of Mont Oscur, V, 6.
Cort Mantel, fabliau, I, 257, 266.
Costumes enclosed in nut-shells or small bags, I, 260, and n.
The Cotter’s Son, Gaelic tale, III, 507.
The Countess of Northumberland (Rising in the North),
III, 403-5, 410, 417.
La Coupe Enchantée, La Fontaine, I, 265.
Craddocke, I, 264 n., 272 f.; V, 289 a (Welsh Caradawc).
Crawford, Earl, ballad, IV, 276 ff.
Crecrynbroghe Castle, III, 430.
Créqui, Sire de, I, 459.
Crescentia, II, 181.
Crichton. See under Family Names.
Cries, three (four), maid about to be murdered asks and is allowed,
I, 32-37, 39, 41 f., 47, 487 b; V, 207.
Cromlet’s Lilt, reply to, II, 317 n.
Cromwell, Thomas Lord, ballad, III, 377.
Diu Crône of Heinrich von dem Türlîn, I, 264, 266, 279 a.
Cross burned or cut into the flesh, II, 240, 242, 513 a; III, 514;
IV, 476; V, 225 b.
The Cruel Mother, German variations of (Die Rabenmutter,
Kindesmörderin, u.s.w.), I, 219 f., 504 a; II, 500 a; III, 502
b; IV, 451 a; V, 212 a, 287 b;
Slavic, Magyar, Croat, variations,
I, 220, 504 a; III, 502 b; V, 287 f.
The Cruel Mother, story of, blended with that of Magdalen and
Samaritan women, I, 230;
with that of the Samaritan woman simply, _ib._
Cuchulinn, Cuculin, IV, 463 b, 479 b.
Culpepper, affair of the Earl of Devonshire with, IV, 111.
Cunigund, name of Gunhild, wife of the Emperor Henry III, after her
marriage, II, 38.
Cunigund, St., wife of the Emperor St. Henry II, her ordeal, II, 38.
Cunningham, Allan, his handling of Scottish ballads, I, 62 119 n.,
142, 227, 436; II, 260, 302 f.; III, 265, 381; IV, 9, 80; V,
107; etc.
Curse, mother’s, I, 386; IV, 181, 186-9; V, 257, 301 a.
Cursor Mundi, I, 240, 505; II, 2, 7 nn.
Curtal Friar and curtal dogs, III, 121, 124 f.
Dactyliomancy, III, 411, and n.; V, 299 b.
Δαιμόνιον μεσημβρινόν, III, 505 f. See Mittagsfrau and Noon-sprite.
Dame Ragnell, I, 290.
Damiani, Pietro, I, 237 n.
La damoisele hydeuse in Chrétien’s Perceval, II, 502 b; IV, 454 a;
V, 289 b.
Damsel who prizes herself too highly marries and has a litter of nine
pups, a pig, and a boy, I, 210.
Dance, probation by, of young woman suspected of having had a child;
she dies in consequence; she dances with all the men of the
court, tires out successively all the courtiers, the king and
the queen; dances seven hours without breaking down, II, 102
(dance ordered, but deprecated, 103);
jealous or offended lover makes his mistress dance till her boots
are full of blood, II, 103;
young woman who has just borne a child, married against her will,
dances with her lover after the wedding and dies of the
exertion, II, 104-8, 110; IV, 465;
girl tires out fifteen partners (in Danish ballads), IV, 214;
lass of Anglesey, dancing on king’s party against English lords,
tires out fifteen of them, 215.
Daniel von Blühenthal, I, 257 n.
Dansekar, the pirate, V, 143.
Dark complexions in women, not in favor, I, 120, 133, =M=, (10), 135
(1); II, 182-97; V, 167 f.
Darnley, Lord (Henry Stuart), III, 382, 384-7, 390, 392-4, 399-401,
442, 444, 446; IV, 507 f., 510, 512;
murder of, in revenge for his complicity in the murder of Rizzio,
III, 399, 401;
hanged on a tree, 401, 444.
Dasakumaracharitam, I, 14.
The Daughter of King Under-waves, Scottish-Gaelic tale (Nighean
Righ fo Thuinn), I, 297.
Davenant, Sir William, The Wits, II, 243.
David, King of Judah, gives hard questions to his sons to determine
his successor; answered by Solomon, I, 13 n.
David Bruce, King of Scotland, can brook no opposition and kills his
own squire for warning him of the danger of invading England;
distributes portions of English territory among his chief men,
before the battle of Durham, III, 284 f.;
is taken prisoner by John of Copland, 286;
meets King John of France, also a captive, in London, 287.
De simplicitate viri et uxoris, tale of Sercambi, V, 97.
The Dead.
Dead body compromises the safety of a ship, I, 245 n.
Dead body lying in a river, expedients for discovering, II, 143,
145, 147 f., 151, 155.
Dead body may be caused to speak by setting door ajar or half open,
II, 281, 282 (15) (Scott. Nothing said of the door being ajar
in =B=, p. 283, or in the original of =A=, IV, 478).
Dead brother admonishes his sister for her pride of dress, I, 428,
430 f.
Carlin’s three sons come back from Paradise with hats of birch, II,
238 f.
Dead corpse of boy makes appointment to meet mother, III, 244 f.,
247; V, 241.
The dead, love tokens asked back by; gifts returned by, II, 228.
Grief for the dead detrimental to their comfort and peace, II,
234-7, 512 f.; III, 513; V, 294;
resentment for the disturbance occasioned by, V, 62;
tears for dead lover fill his coffin with blood; cheerfulness
causes his grave to be hung with rose-leaves, II, 228.
Kiss from the dead fatal, I, 439; II, 229-32, 236 f.; III, 512 f.;
IV, 474 f.;
bramble-leaf comes between the lips of maid and lover, and her
life saved, IV, 474.
Maid demands answers of her dead lover to questions concerning
state of the dead as condition of returning his troth, II,
231-3.
Dead man coming on horseback to his mistress (wife, sister) and
taking her with him, V, 60;
tales, 60-3, 303;
ballads, 63-67, 303.
Dead mother revisits her daughter, and would have torn her to
pieces, V, 303 b.
Dead mistress admonishes her lover, I, 426.
Troth asked for and returned by maid to dead lover, or resumed by
her, II, 227, 229-33.
Father asks return of troth from his son, II, 512 b.
Dead lover (like the Devil, Elfin Knight) sets maid tasks and would
have taken her with him if she had not ‘answered well,’ baffled
him by requiring preliminary counter-tasks, IV, 439 f.
Death feigned by maid (who takes a draught which produces
insensibility) in order to get to her lover, II, 355 f.,
358-67; III, 517; IV, 482-6; V, 234 a;
save her honor, avoid becoming a king’s mistress, avoid marrying a
Turk, avoid a disagreeable suitor, or to move a lover, II, 356;
III, 517; IV, 482 b; V, 234 a, 296 b;
painful or disagreeable tests of her sensibility, II, 359, 361,
364-7; III, 517 b; IV, 485; V, 296 b.
Death feigned by wife to escape to lover, or apparent death operated
by sleeping draughts administered by lover (woman is in some
cases buried, disinterred and carried off), V, 3 f., 6, 280;
tests of sensibility applied, V, 3, 6.
Death feigned by lover in order to possess himself of maid when she
comes to his wake, or his funeral, I, 247-53, 506 f.; II, 502
a; III, 503 a; IV, 453; V, 212, 289 a. (The maid in a convent
in some cases, and the body introduced into the cloister; nuns
think it an angel that has taken maid off, and they wish the
like for themselves, I, 248 f.)
Death of bridegroom, husband, concealed from bride, wife, by
evasions, I, 376-9, 381, 383-7.
The Death of Keeldar, ballad by Sir W. Scott, IV, 25.
The Death of Robert, Earl of Huntington, play by Anthony Munday and
Henry Chettle, III, 129, 519.
Death-naming. See Naming.
The Debateable Land, III, 363 n., 473.
Dee, Water of, II, 283, 468; III, 360, 457; IV, 52 f., 103.
Delamere, Lord, ballad, IV, 110 ff.
Deloney’s Pleasant History of John Winchcomb (Jacke of Newburie), I,
111, 113.
Demaundes Joyous, I, 13 n.
Demoniac character of the murderous knight in No 4, I, 49 f.
Derby, Earl of, incurs the anger of Henry VIII because Lancashire and
Cheshire are maliciously represented by the Earl of Surrey to
have failed to do their duty at Flodden, III, 355-7;
the next day a letter from the queen gives all the credit of the
victory to Lancashire and Cheshire and the Earl of Derby, and
the Stanleys are in high favor, III, 359.
Derwentwater, ballad by Allan Cunningham, IV, 116.
Derwentwater, Lord, ballad, IV, 115 ff.
Derwentwater’s Lights, IV, 117.
Les deux Fiancés, tale of French Brittany, V, 64.
Devil appears to counsel and take part in a murder, IV, 31.
Devil gives riddles, I, 4 f., =C=, =D=, and tasks, 14;
(represented imposes tasks and is baffled by the maid, 18 f., =I=;
the devil express, V, 283;
seeks to nonplus boy, I, 22, 485 b.
Devil takes lover to hell and shows him his mistress in torment,
Breton ballad, I, 426.
Devil would be a maid’s leman, V, 283.
Devonshire, Earl of, fights with a French or Dutch lord in defence of
Lord Delamere, IV, 111-115.
Diarmaid allows a hideous woman to come near his fire and under his
blanket, she is transformed into the most beautiful creature in
the world, Gaelic tale, I, 298;
cf. Irish story, V, 289 b.
Diarmaid and Grainne, West Highland Gaelic tale, I, 8.
Diarmaid and the Magic Boar, West Highland tale, II, 500.
Diarmaid’s wife tries the robe which is a test of chastity, Gaelic
ballad, I, 261 f.; V, 289.
Dicing for prisoners, III, 378 f.
Diderik, King, and Gunild, II, 36.
Dietrichs Flucht, IV, 463 b.
Dietrichsaga, I, 49.
Dieu vous saue, Dame Emme, song or ballad, II, 38 n.
Disenchantment effected by drinking of blood, or by drawing blood
from the bewitched, I, 178, 337, and n.;
by kisses given (or received from) a disgusting or terrible
creature, or by touching the same, I, 307-11, 313, 338 n.; II,
502 b, 504 f.; III, 504 a; IV, 454 a; V, 214, 290 a;
not completed without, often operated by, immersion in milk or
water, I, 308, 338, and n., 339 n., 342, 344; II, 505 b; III,
505 b; V, 39 f.;
other processes or conditions, I, 313, 315; V, 215.
Disenchantment of hideous woman effected by obtaining absolute
sovereignty over a man’s will, I, 290-2, 295 f., 299;
by finding a man who would accept his life at her hands, kiss her,
and share her bed, 293;
by being admitted to a king’s or hero’s bed, 297 f.; V, 289 b;
by getting king’s brother for husband, I, 507 a;
disenchantment of seemingly ugly old man effected by gaining the
love of a beautiful girl, V, 213 a;
of linden-worm, snake, by being admitted to maid’s bed, I, 298;
II, 502 b; IV, 454 a (cf. V, 289 b);
of crocodile by girl’s licking his face, V, 215 b.
Disguises of outlaws, Fulk Fitz-Warine, Hereward, Eustace, Wallace,
Robin Hood, III, 109 f., 117 f., 178-82, 184, 191, 271, 273 f.;
other disguises, as beggar or pilgrim, V, 2, 4, 5, 279 f.;
as charcoal man, V, 6.
Dish made from ashes and bones of murdered man denounces the
murderers, I, 126.
Dissawar, Disaware, name borne by Prince Roswall and the Lord of Lorn
after exchanging positions with the steward, V, 44, 49, 55.
Dobrynya, Russian epic hero, V, 295 a.
Dodhead, the, IV, 5 f., 518 b; V, 249-51.
Dog who could indicate pregnant women, adulterers, etc., I, 270 n.
Dole-day, II, 436.
Dolopathos, Latin (and French) romance, I, 392.
Don Bueso, Catalan representative of Young Beichan, I, 462.
Don John of Austria meets the Earl of Westmoreland on the sea,
takes him to Seville and recommends him to the queen, III, 420
f.
Doon l’Alemanz, chanson de geste, II, 40.
Doors and windows thrown on a combatant to take him prisoner, III, 24.
Douglas. See under Family Names.
Douglas, Northumberland betrayed by, ballad, III, 408 ff.
Douglas, tragedy by Home, II, 263, and n., 264.
Douglas, Gavin, Palice of Honour, II, 136, V, 69 n.
Douglas, James, Earl, in the Scottish Otterburn alleged to have been
stabbed before the battle by one of his own men, or a boy whom
he had offended, III, 294, 299; V, 244;
in another version, to have gone into battle without his helmet,
III, 300;
challenges Percy to single combat in The Hunting of the Cheviot,
III, 308;
dreams that a dead man wins a fight and thinks that man is he, III,
300, IV, 501.
Douglas, Jamie, ballad, IV, 90 ff.
Douglas, Lady, of Lochleven, tries to protect the Earl of
Northumberland from the treachery of William Douglas, III,
411-3;
shows his chamberlain his English enemies waiting for him 150 miles
off through the hollow of her ring, 412.
Douglas, William, Earl of Angus, his encounter with the English at
Piperden, III, 305.
Douglas, William, knight of Liddesdale, III, 282 f., 284 f., 288.
Douglas, William, of Lochleven, III, 409, 411-14, 443 f., 446.
Douns Lioð, II, 506 a; III, 518 b.
D’Ouville, L’Élite des Contes du Sieur, I, 408; V, 96.
The Downfall of Robert, Earl of Huntington, play by A. Munday, III,
46, 122, 129, 130 n., 179, 218, 220, 227, 519 b; V, 100.
Dramatic representation of ballads by young people, I, 249; IV, 439
b; V, 90.
Dreams:
of bower full of red swine and bride-bed full of blood, II, 200;
room fu o red swine and bride’s bed daubd wi blude, II, 292;
chamber full of swine and bed full of blood, IV, 426;
bowr lin’d with white swine and brid-chamber full of blood, II,
202, =B=, 11;
chamber full of wild men’s wine and bride-bed stood in blood, II,
202, =C=, 4;
bower full of milk-white swans and bride’s bed full of blood, IV,
433;
of pulling green heather, IV, 164, 167-9, 171-5, 180 (heather
bell), 522; V, 255;
green birk, IV, 176;
apples green, IV, 523;
other dreams, II, 33 n., 41, 45, 205;
to dream of blood bodes ill, II, 292 f.;
to dream of ravens is the loss of a near friend, II, 293.
Die drei Brüder, tale, I, 125, 493 b.
Drink which causes forgetfulness, I, 363, and n., 364.
Drinking formulas, challenge and response, V, 71-73.
Drinking to friends upon the eve of execution, IV, 30 n.
Drolleries, nonplussing, I, 20-2, 417 f., 485 a; II, 507 b; IV, 440 b.
Drowned bodies, mode of discovering,
II, 143, 512 a; III, 509 a; IV, 468 a.
Drum, Laird of, ballad, IV, 322 ff.
Drumclog, ballad, IV, 105 ff.
Drummond. See under Family Names.
Dsanglun, oder der Weise und der Thor, I, 11 n., 13.
Duel in which innocent boy of fifteen vanquishes false accuser of
thirty-three, IV, 371, 373.
See Child-champion.
Dumfounding, fool wins a princess by, I, 20, 485 a.
Dunbar, William, Of Sir Thomas Norray, III, 91;
God gif ye war John Thomsoneis man, V, 8.
Durham, Battle of, III, 282 ff.
Dwarf-king, hill-king, beguiles a princess; she has children by him,
though remaining with her mother; revealing the condition of
things she is forced to go to the hill, where she dies or
drinks a Lethean draught which makes her forget all her earlier
history, I, 362, 363, and n.;
woman lives in the hill and there has her children; after eight or
nine years is allowed to go home on terms; violating these, is
compelled to return to the hill, where she dies, or is given a
drink which induces forgetfulness, I, 363 f.
See Merman.
Dwarf Land, I, 259.
Dying man, woman, directs that father, mother, wife, etc., be kept in
ignorance of his, her, death, I, 436-40, 442; II, 14, and n.;
III, 380 f., 507 b; IV, 460, 508-10, 512 f.; V, 247.
Earl of Toulouse, romance, II, 33 n., 41 f., 43 n.
Eating and drinking, personal contact, exchange of speech, etc., in
Elfland, or any abode of unearthly beings, perilous, I, 322-5,
327 f.; II, 505; IV, 455, 458.
Edda, the Elder (Sæmund’s):
Völuspá, I, 21;
Þrymskviða, I, 298;
Vafþrúðnismál, I, 13, 283 n., 404;
Grímnismál, I, 67;
Alvíssmál, I, 13, 419;
Helgakviða Hjörvarðssonar, I, 94, and n.;
Helgakviða Hundingsbana, I, 67, 94 f.; II, 228, 235; III, 306;
Fáfnismál, I, 96, 392;
Sigrdrífumál, I, 392;
Sigurðarkviða Fafnisbana, III, 2, 127;
Fjölsvinnsmál, I, 281 n.
Edda, Snorri’s:
Gylfaginning, I, 283 n.;
Skáldskaparmál, I, 94 n., 283 n.; II, 127; IV, 479 b.
Der edle Moringer, I, 196, 459; V, 291 b.
Edward the III and the Tanner of Tamworth, play by T. Heywood,
V, 68 n.
Eger and Grime, Eger, Grime and Graysteel, romance,
I, 209; II, 56; III, 306.
Egil’s apple-shot, III, 16.
Egils Saga ok Ásmundar, IV, 443.
Eildon Tree, I, 320 n., 324, 325, 327.
Eindriði, III, 18, 20 n.
Der Eisenhans, tale, V, 46.
Der Eisenhofen, tale, I, 307 n.
Der eiserne Mann, tale, V, 46.
Eleanor, Queen of Henry II of England, III, 257 ff.;
of Edward I, 257.
Eleusinian priests, holy names of, V, 285 b.
Elf-dance, I, 375-77; IV, 459 a; V, 216 a.
Elfin knight haunts a hill, I, 15-7;
elfin knight sets a maid tasks to be done before she can marry him,
I, 15-17.
Elf-knight, hill-man, excites love-longing by the sound of his horn,
I, 15-17, 23, 55, 367.
Elf-queen would have taken out Tam Lin’s eyes and have put in eyes of
wood, I, 343, 345, 356.
Elf-queen and witches take out the heart of man and replace it with
straw, stone, etc., I, 339, 345, 347 f., 353, 356.
Elf-rod controls the will, I, 362.
Elf-shot, elf-stroke (==Elveskud), I, 374-7, 382, 385.
Élie de Saint-Gille and Rosamonde, I, 458 n.; III, 508 a, b.
Ellensborg, Stolt, Jomfrue (Ellen), Scandinavian representative of
Susie Pye, I, 459-61.
Elliot. See under Family names.
Elritch (eldrige) king haunts a hill in the night and fights with any
comer, II, 58 f.;
fighting with elritch or spectral knights, II, 511 a; III, 508.
Elves, mermaids, or water-nymphs:
ballads in which the results of dealing with or encountering them
prove fatal, I, 372-389;
inconstancy in relations with elves, mermaids, etc., has fatal
consequences, I, 372-5, 387-9;
elf threatens man with sickness, knives, death, if he will not
dance with her, I, 376 f.;
option of living with elves, marrying an elf, or dying, I, 377,
379, 381, 383 f.;
poison grains in drink given by elves, I, 375;
elf, hill-maid, mermaid, promises man wonderful gifts if he will
plight himself to her (dance with her), I, 314, 375, 376; III,
504 a; V, 214 b;
offers man shirt as love-token, V, 284;
elves, spirits and the like, reproaching or insulting, I, 21, 485
a; II, 496 b, 509 a; IV, 440 b;
elves and water-sprites desire help of mortal women at lying-in
time and in nursing, I, 358-60; II, 505 f.; III, 505 f.; IV,
459 a; V, 215 b.
See also Elf-dance, Elfin, Elf-queen, Elf-rod, Elf-shot.
Emma, wife of Cnut the Great, her ordeal, and ballad concerning, II,
38, and n.
Enchantment, restoration from, after successive changes of shape, by
drawing blood, I, 337;
by drinking blood, etc., 337 n.;
victim of enchantment, inoffensive before, becomes fierce and
destructive, I, 289 f., 294 f., 316.
L’Enfant de Chœur de Notre-Dame du Puy, legend, III, 240.
Engelische Comedien und Tragedien, V, 97.
Englishmen warned not to come to Scotland for brides, IV, 219, 221
f., 224-8, 230.
Epithets (as Fair Margaret, Sweet William, Child Maurice):
Bold, I, 453; II, 320.
Bonny, II, 276; III, 447; IV, 52 f., 143, 233.
Burd, I, 256; II, 71, 87, 91, 97, 140; IV, 418-421; V, 227-9.
Child, Chil, Chiel, I, 62; II, 85, 128, 133, 263;
Child of Ell, I, 103;
child of Wynd, Childy Wynd==Child Owyne, I, 312 f.; II, 503 f.;
alternating with Gil, I, 62; II, 130, 263.
Clerk, I, 387-9; II, 158-161, 164 f.; IV, 385 f., 428, 468.
Dove (Dow), II, 97.
Fair, I, 341, 343, 345, 431; II, 63, 92, 100, 179, 200, 207, 212,
213, etc.
Hind, I, 187, 369 f.; II, 305.
Kemp, Kempy, I, 300, 306.
Love, II, 216 f., 220-3, 293, 369 f., 389, 395.
May, I, 22, 369; II, 158, 164, 232, 305; III, 452, 455; V, 257;
Maid Marian, III, 218.
Mild (Mile), II, 72, 315; III, 386, 395 f., 398; IV, 507 f., 510 f.
Sweet, I, 68; II, 97, 100, 168 f., 171, 179, 200, 226, 291, etc.
Young, I, 256, 367, 371, 432, 454; II, 51, 142, 282, 288, 343; III,
452, 454 f., etc.
Erl of Toulous, romance, II, 33 n., 41 f., 43 n.
Errol, Earl of, ballad, IV, 282 ff.
Essex, the young Earl of, V, 146.
Estmere, nuncio of King Adler, II, 50;
King, and brother of Adler, 51-5.
Ettrick Forest, V, 187-9, 191-7.
Eulenspiegel, I, 409.
Eulogium Historiarum, I, 157.
Eustace the Monk, III, 43, 53, 109, 191, 211, 476 n.
Evils, a hundred, enter into a man who has proved false in love, IV,
419.
Example-books, I, 292 n.
Fa, Faa, Faw, Foix, Faux, IV, 61-70;
Johnie, Jockie, Faa, 61-6, 68-70; IV, 513 b, 522 a; V, 188;
takes in one manuscript the place of Captain Car or of Edom o
Gordon, IV, 513 b.
Fabliaux: Le mantel mautaillié, Cort Mantel, I, 257, 266;
La mule sanz frein, I, 417 n.;
Du povre mercier, III, 54;
Du chevalier qui ooit la messe, etc., III, 96 n.;
Du chevalier qui fist sa femme confesse, III, 258;
Le chevalier à l’espée, III, 508 a;
Des tresces, V, 22 f., n.;
Du chevalier à la corbeille, V, 121.
Fáfnismál, I, 96, 392.
Fair Annie of Kirkland, ballad of A. Cunningham’s, I, 436.
The Fair one of the Castle, Persian riddle poem, I, 417.
A fair pretty maiden she sat on her bed, IV, 439 b.
Fairies, euphemisms for, good damsels, good ladies, I, 314, gude
neighbors, I, 352 (cf. Romaic, I, 314 n.);
failure of a husband to rescue his wife who had been carried off
by, I, 336;
ride white steeds, I, 216, 323, 325, 339 f. (Tam Lin mounted, but
not the rest of the fairy train, 342, 344, 346, 348, 349, 351,
352, 355);
ride dapple-gray steeds, 324, 326;
fairies, water-spirits, etc., solicit help of mortal women at
lying-in time and as nurses, I, 358-60; II, 505 f.; III, 505
f.; IV, 459 a; V, 215 b, 290 b;
fairy, at first appearance, taken for the Virgin, I, 319, 327; III,
504 a; IV, 455;
fairy salve applied to mortals’ eyes gives power of seeing fairies,
but is dangerous to use, I, 339; II, 505 b; III, 505 b; V, 290
a.
False luve, and hae ye played me this, IV, 210.
Family names, the principal:--
Argyll, III, 397; IV, 55-60, 99, 131, 135, 271; V, 252, 266;
Gleyd Argyle, IV, 55, 57-60, 135.
Armstrong, III, 363-71, 409, 419, 461-7, 469-83, 485 n.; IV, 432;
V, 298.
Barnard, Bernard, Barnet, Burnett, Burnard, Lord, II, 244-8, 251
f., 256-8, 266-74.
Burnet, I, 453; IV, 82, 355-8. (Burnett for Barnard, II, 256.)
Campbell, III, 427, 435-8; IV, 56-59, 142-4, 514; V, 252. See
Argyll.
Cassilis, Earl of, IV, 62, 64-7, 70, 124, 133; V, 301.
Crichton, III, 458-60; IV, 39-47.
Douglas, III, 282-5, 288-301, 304 f., 307-14, 409, 411-14, 443-6;
IV, 36 f., 50, 90 f., 93-104, 499-501; V, 190, 227, 243 f.
Drummond, IV, 276, 282, 292.
Elliot, III, 370, 471, 473; IV, 5 f., 34; V, 249-51;
Martin Elliot, III, 409, 471; V, 249-51.
Fenwick (Fennick, Fenix, Phenix, Phœnix), II, 312, 442-55; IV, 140,
371-5.
Forbes, IV, 48 f., 51-3, 83, 86; V, 254.
Gordon (Huntly, Aboyne), III, 294, 296, 299, 301, 341, 345, 349,
378 f., 400, 424-6, 432-8, 447-9, 456 f.; IV, 39-47, 51-3,
80-7, 108 f., 124, 127, 129 f., 133-8, 295, 312-22, 333-8, 341
f., 344, 347-50, 500 f., 505, 513 f.; V, 165, 243 f., 247 f.,
254, 270-75, 301.
Graham (Græme, Gryme), I, 211; III, 299, 318; IV, 9-15, 76, 78,
105-7, 109 f., 146-8; IV, 157, 241 f., 267-9, 500, 518-20; V,
265, 300. See Montrose.
Hall, III, 485, 487-94; IV, 24-8, 517, 520 f.
Hamilton, III, 285, 341, 382, 384-97, 428, 431, 442; IV, 36, 38,
64, 106, 108, 163, 505-13; V, 187, 191, 193, 246 f., 298 f.
Hay, IV, 41 f., 45, 48, 127 f., 136, 233 f., 282-4, 286-91; V,
267-9, 301.
Howard, III, 335-7, 339-45, 348-56, 359, 377; IV, 503-7.
Hume, Home, III, 409, 412; IV, 12 f., 272 f., 281, 293 f., 296-8,
518; V, 270.
Lindsay, III, 291, 299, 301; IV, 256-66, 276-9, 500 f., 524; V, 243
f., 264 f.
Livingston, II, 312, 314 f.; III, 381, 382 n., 389 f.; IV, 29-33,
233, 235-8, 431-3; V, 227-9, 246, 261.
Macdonald (Macdonell), III, 316-19; IV, 256-66, 271 f., 274 f.,
524; V, 265-7.
Macgregor, Rob Roy, IV, 243, 246-53; V, 263 f.;
Rob Oig, IV, 243-54; V, 262-4;
James, IV, 243 f., 252;
Duncan, IV, 244;
Glengyle, IV, 245, 252.
Maxwell, III, 292, 296, 298, 310, 313, 485; IV, 34-38.
Murray, III, 298, 310; V, 185, 187-97, 307.
Neville, III, 283 f., 402-4, 406, 409, 417, 419-23.
Ogilvie, III, 316; IV, 55 f., 58, 333 f., 336-8; V, 252.
Percy, II, 383 f.; III, 282 f., 286, 289-301, 304 f., 307-14,
402-6, 409-14; IV, 500 f.; V, 243 f.
Scott, III, 297 f., 469-74; IV, 5-8, 34, 163 f.; V, 189, 249 f.
Scott of Buccleuch, III, 410, 417, 469-74; V, 186, 189.
Stanley, III, 328 f., 331-3, 354-9, 377 f.
Stuart, III, 298, 316; IV, 109, 425;
Charles Edward, the Young Pretender, IV, 55, 57-60; V, 252;
Francis, Earl of Bothwell, III, 449;
Henry, Earl of Darnley, III, 382, 384-7, 390, 392-4, 399-401,
442, 444, 446; IV, 507 f., 510, 512;
James, Earl of Murray, Regent, III, 400, 409, 417, 442, 447;
James, the Bonny Earl of Murray, III, 447-9;
James Francis Edward, the Old Pretender, IV, 116, 118-23; V, 255.
See Kings and Queens of England and Scotland.
Farce d’un Chauldronnier, V, 97 f.
The Farmer, his wife, and the open door, Indian tale, V, 281.
Farmer Weathersky, Norse tale, III, 507.
Farrow cow’s milk regarded as best, I, 224; II, 261.
Fascinating horn (harp), I, 15-17, 50, 55; IV, 441.
Fascinating song, I, 25, 28 b, 31-35, 37 f., 44, 485; IV, 441; V, 285
a.
Les Faveurs et les Disgraces de l’Amour, French tale from Bandello,
I, 269.
La Fée Urgèle, melodrama of Favart, I, 292.
The Felon Sow and the Friars of Richmond, I, 209 n.
Fenwick. See under Family Names.
La Fiancée du Mort, Breton tale, V, 303 b.
Fiddle, parts of maid’s body taken for, fiddle speaks, I, 494; IV,
449.
Fights, hand to hand, of Robin Hood or his men, duration of:
one hour, III, 64, 219;
two hours, 93, 138, 151;
three hours, 153;
six hours, 125, 166, 169;
a long summer’s day, 131.
Fikenild, Horn’s false friend, I, 188-90.
Filer le parfait amour, tale of Sénecé, I, 269.
Fin, Finn, Finns, I, 21; II, 494, 496 b. See Finns.
Fin, a diabolic personage or warlock, his wit-contest with Harpkin,
I, 21.
Finger cut off, of maid substituted for mistress, exhibited as token
of conquest of the mistress’s virtue, V, 22-4, 27.
Fingers knacked, knocked, cracked, wrung, for grief, II, 26, 312-15,
319; III, 455, 477; IV, 418, 435; V, 227-9. (Some passages
corrupted.)
Finn, Gaelic hero, his wife tries the robe which is the test of
chastity, I, 261 f.; cf. V, 289 a.
Finns, submarine, by donning seal-skin, enabled to ascend to land,
losing the skin become subject to the power of man like
swan-maidens, II, 494; III, 518; IV, 495 a.
See Fin.
Finsbury field, archery at, III, 197, 201, 203.
Fionn’s conversation with Ailbhe, I, 3.
Fionn’s Questions, Gaelic tale, I, 3.
Fire will not burn a maid accused but innocent; burns her guilty
mistress, II, 145 f., 148, 153, 155.
Fish, frying, fly out of the pan to attest the taking of
Constantinople by the Turks, I, 241; II, 501 b; IV, 452 a; V,
288 b.
Fitchers Vogel, tale, I, 47.
Fjölsvinnsmál, I, 281 n.
La Flauuto, French tale, I, 125.
La Fleur du Rocher, Breton story, III, 504.
Floamanna saga, II, 35 n.; V, 275.
Flodden, Battle of, III, 351 ff.
Floire et Blanceflor, Flor and Blancheflor, romance, I, 269; II, 500
a, 502 a, 510 b; V, 175.
La Flor del Lililá, Spanish tale, I, 125.
Florent, in Gower’s Confessio Amantis, I, 291 f.
Florentina, De Historia van, I, 268, 459 n.
Florimel’s girdle, I, 267, and n.
Das Flötenrohr, tale, III, 499.
Flowers, costume of, IV, 212-14; V, 258 f.
Flyting, baffling spirits by scolding, or by getting the last word,
I, 20-2, 485 a; II, 496 b, 509 a; III, 496 a; IV, 440 b.
Foiling mischievous sprites and ghosts by prolonging talk till the
time when they must go, IV, 440 b;
Thor detains Alvíss till after sunrise; being above ground at dawn,
he is turned to stone, I, 419.
Folk-drama, etc.
See Robin Hood, St. George.
Fool poses princess (and gets her in marriage), I, 20, 417 f., 485
a; II, 507 b.
Foot-ball match, II, 434 f.
Forbes, family of Drumminor at the battle of Harlaw, III, 319;
encounters of the Forbeses with Adam Gordon, III, 424-6;
burning of the house of Towie (or Corgarf), 424 f., 427;
family of Craigievar, IV, 51-3.
See under Family Names.
Foresters, fosters, III, 3-11, 28, 152, 176, 215; V, 74, and n.
Forgetfulness of earthly relations induced by draught administered to
a woman by hill-folk, I, 363, and n., 364;
man made by magical or other means to forget a first love, suddenly
restored to consciousness and to his predilection, I, 461, and
n.
Fornsvenskt Legendarium, I, 14 n., 237 n.; II, 2, 7 n.
Fortalicium Fidei of Espina, III, 239.
Forty Viziers, Turkish tales, I, 402; V, 13, 97.
Fountain springs where maid has been murdered, V, 287 a.
Fountains Abbey, III, 121, 123 f., 126.
The Four Elements, morality, II, 240; III, 42 n.
Frater i turski car, Croatian tale, I, 409.
Frau Tristerat of Savoy, horn of, meistergesang, I, 263.
Frendraught, Fire of, IV, 39 ff., 521 f.; V, 251, 301.
Frendraught, A Satyre against, etc., IV, 522.
Friar in the Well, The, ballad and tune, V, 100.
Friar of Orders Grey, Percy’s ballad, and ballads like it, II, 426
f.; V, 201.
Friar Tuck:
not a member of Robin Hood’s company in any old ballad, III, 43;
but in both the plays, 91, 127 f.,
in the latter representing the Curtal Friar of the ballad, who is
even called Friar Fuck in the title of one version, though not
in the ballad, 122;
simply named as of Robin Hood’s troop in two later ballads, 198,
209;
a character in the May-game, and perhaps the morris, 44-6;
Friar Tuck in Munday’s play, The Downfall of Robert Earl of
Huntington, III, 179, 519.
Friðþjófs saga, IV, 376.
Froissart, III, 283 n., 289-94, 337 n.; V, 297 b.
Fruit, eating of in subterranean garden, entails going to hell, I,
322, 324, 328 f.
Fulk Fitz-Warine, III, 40 n., 43, 49 n., 51, 53, 95, 109, 476 n.,
519.
The Fuller’s Son, Gaelic tale, III, 507.
Le Fumeur de Hachich et sa femme, tale, V, 304 a.
La Furnarella, Italian tale==the ballad ‘Il Genovese,’ II, 502 a.
Fyvie, cheese of, as a love-potion, V, 305 b.
The Gaberlunyie man, V, 109 f., 115 f.
Gabs, brags, vows, I, 277, 281, 283, 285.
Galerent, romance, IV, 463 b.
Galien, romance, I, 274, 276 n., 278 n., 282 n., 507 a.
Gamble Gold, a pedlar, otherwise Gamwell of the greenwood, turns out
to be Robin Hood’s cousin (see Gamwell, Young), III, 155; V,
240.
Game-laws, offenders against (besides Robin Hood and his men), III,
3-11, 13 (?), 22.
Gamelyn, tale of, III, 12, 22, 51-3, 144.
Games, ballads turned into, I, 33 n.; II, 346; III, 516 b; IV, 439 b,
441 b.
Games: gallant rides at the ring; plays at the ba, and glove, III,
448;
girl plays at ring and ba, IV, 354, =A=, =b=, 1, 2.
Gamwel, Robin Hood’s mother of that name, III, 215.
Gamwell, Young, nephew of Robin Hood according to late ballads;
afterwards called Scarlet, Scadlock, III, 146, 150;
Gamwell of the green-wood, an apparent pedlar, is discovered to be
Robin Hood’s cousin, V, 240.
These, and Gamble Gold, III, 155, are the same person.
Gandelyn, III, 12-14.
Die Gänsemagd, Grimms’ German tale, V, 47;
Russian form, 281.
Garrett, Sir (==Sir Gareth), I, 295.
Garðaríki, I, 460 n.
Gasozein, gives himself out as Guenever’s first love, I, 279 n.
Gautier de Coincy, II, 13; III, 52 n., 239.
Gautier de Doulens (Gaucher de Dourdan), Conte du Graal, ugly lady
(Rosette) in, V, 289 b.
Gawain, I, 285, 289 f., 294-296; V, 289 b.
Gaya, Ramiro’s wife, V, 5 f.
Geiplur, Icelandic “rune,” I, 275, and n.
Gelô, IV, 443 a.
Genovefa, Die Legende von der Pfalzgräfin, II, 41, and n.
Genoveva, falsely accused of adultery, II, 41.
George a Greene, the Pinner of Wakefield, a play by Robert Greene,
III, 129, 130, and n.;
George a Green, a prose history, III, 130.
Gerhard, the Good, I, 197, 459.
Geruth, the giant, I, 323.
Gervase of Tilbury, I, 339 n., 359; II, 56, 511.
Gesta Romanorum, I, 8, 13, 191 n., 268, 391, 393, 406, 416, 418 n.,
458 n.; II, 137, 502; III, 122.
Gestr the Blind (Odin) and King Heiðrekr, give each other riddles, I,
405.
Der getheilte Trauring, tale, I, 198.
Die getreue Frau, tale, I, 268 b, 4-6.
Le Geu des Trois Roys, mystery-play, II, 7 f.
Geyti shoots a nut from his brother’s head, III, 18.
Ghismonda and Guiscardo, in the Decameron, V, 29 ff., 303.
Ghost tears to pieces lover going from his mistress, and hangs a bit
over every seat in church, IV, 416;
ghost of mother would have torn daughter to pieces, V, 303 b.
Giant with five heads, II, 59;
with three on his neck and three on his breast, V, 184;
giant with three spans between his brows and three yards between
his shoulders, II, 394;
span between the eyes (brows) and three ells between the shoulders
in ‘The Wee Man,’ I, 332.
Gifts offered by elf, hill-troll, mermaid to obtain young man’s love,
I, 314, 375 f., 384; III, 504 a; V, 214.
Gigantic Scotsmen, IV, 397-9.
Gilbert of the White Hand, one of Robin Hood’s troop in the Gest,
III, 70, 76.
Gilbert Beket, his legend, I, 457.
The Gipsie Laddie, ballad made over by Percy, IV, 62.
Giraldi Cinthio, Hecatommithi, V, 13.
Giraldus Cambrensis, Itinerarium Cambriae, I, 320 n.; II, 513 a;
Speculum Ecclesiae, V, 72 f.
Girl enticed into an inn by the hostler’s wife and put at a man’s
disposal, V, 153-6.
Glammaðr, berserkr, IV, 443 a.
Glascurion (Chaucer), II, 136.
Glove, a game for braw gallants, III, 448, =A=, 5.
Glove, woman being unfit to dance, lover says he will cut his glove
in two and dance for both, II, 105, st. 18.
Gloves, golden-knobbed, II, 133;
siller-knapped, 134.
Gnúpr, IV, 502 a.
God be with thee, Geordie, a tune, IV, 126 n., 454.
God offered as security, III, 52 n., 53 f., 519 a; IV, 497 a.
Golagros and Gawane, romance, I, 279 n.
Gold castles promised by knight to lady, I, 112.
Der Goldäpfelbaum und die Höllenfahrt, Greek tale, II, 509.
Golden apple thrown into the lap of a woman who has been made to
consort with hill-man or merman, and who has been granted leave
to visit her mother, to remind her of her obligations or to
enforce her return, I, 364 f.
The Golden Key or Ball, tale, with verses from the ballad of the
Maid Ransomed from the Gallows, II, 353-5; V, 201, 233.
Golden Legend, I, 14 n., 229, 237, 242 n., 245 n., 505; II, 235, 507;
III, 51, 294 n.
Der goldene Apfel, tale, I, 125.
Das goldene Horn, meistergesang, I, 263.
Goldgerte, Greek tale, I, 338.
Goldsmith, Oliver, II, 276; III, 367.
Göngu-Hrólfs Saga, I, 393; II, 127; IV, 459 a, 502.
Goodnights, IV, 36.
The Goose Girl, German tale, V, 47, 281.
Gordon.
See under Family Names.
Gordon, Adam, III, 424-6, 432-8; IV, 513 f.; V, 247 f.
Gordon, Duke of Gordon’s Daughter, ballad, IV, 332 ff.
Gordon, George, hero of the ballad of Geordie, IV, 124 ff.
Gordon, William, of Rothiemay, IV, 39 ff.
Gorm’s visit to Guthmund, I, 323.
Görtmicheel, robber story, I, 488.
Gorvömb, Icelandic tale, I, 507.
Gôsht-i Fryânô, tale in Arḍâ-Vîrâf, II, 506 f.
Gospels, apocryphal: Nicodemus, I, 239, 240 n.;
Thomas, Greek and Latin, II, 7;
Protevangelium of James, I, 271;
Pseudo-Matthew, 1, 271; II, 1, 2 n., 7.
Gower, Confessio Amantis, I, 10, 291, 292 n.; V, 285.
Graf Hubert von Kalw, German tale, I, 198.
Graham.
See under Family Names.
Graham, Bewick and, ballad, IV, 144 ff.
Graidhne and Fionn, I, 3;
Graidhne and Diarmaid, I, 8.
Gramarye, for magic, in King Estmere, II, 53-55, efficient to make
armor invulnerable, a man too formidable to be undertaken
(written on his forehead), and swords irresistible.
Gramatica Parda, Spanish story, I, 407.
Grame, Hughie, ballad, IV, 8 ff.
La gran conquista de ultramar, II, 43 n.
Grant, James, ballad, IV, 49 ff.
Grateful lion, I, 194 f.
Grave: boy directs that he shall be buried with Bible at his head,
chaunter at his feet, bow and arrows at his side, I, 438;
arrows at head, bent bow at feet, sword and buckler by his side, I,
440;
Bible at head, Testament at feet, III, 247-50 (also pen and ink at
every side, 247);
Bible at head, “busker” at feet, prayer-book by right side, Bible
at head, prayer-book at feet, III, 252;
Bible at head, Testament at feet, prayer-book at side, IV, 497 f.;
prayer-book at head, grammar at feet, V, 241;
Robin Hood wishes to be buried with sword at head, arrows at feet,
bow and metyard by his sides, III, 105; cf. III, 104; V, 297 b.
Grave (for two): Lay my lady on the upper hand (uppermost), for she
came of the better kin, II, 245, 247, 254.
Lay my lady on the sunny side because of her noble kin, II, 251;
IV, 477;
Bury my bully Grahame on the sunny side, for I’m sure he’s won
the victory, IV, 148;
Lay Munsgrove in the lowest flat, he’s deepest in the sin, II,
258.
(Coffin for two), Lay my lady at the right hand, for she’s come of
the noblest kin, II, 253, 255.
Grave, living person descends into, and remains, V, 285 b.
Grave to be made where arrow falls, I, 185.
Graves, flowers from, in Miracles of the Virgin, I, 98 f.
Graves, lovers’, plants and trees from, I, 93, 94, 96-8, 101 f., 200,
489 f., 492, 506 a; II, 104, 108, 111, 183, 185, 190 f., 198,
201 f., 205-8, 210-12, 219, 280, 285 f., 498; III, 498, 510 b,
515; IV, 443, 450 a, 465; V, 31, 207, 224, 226, 262, 285 f.
Gray, Thomas, II, 264.
The great bull of Bendy-law, V, 203.
The Great Michael, a remarkably large and strong ship, commanded by
Sir Robert Barton, III, 335 n.
Greek Anthology, V, 13.
Green, unlucky color, blue fortunate, II, 181 f., 184, 512; IV, 162;
Fair Annie, nevertheless is dressed in green, II, 196, and her men
and maids in green (in an Irish copy), 197 f.
The Green Knight (Bredbeddle), I, 286 f.
Die Greifenfeder, tale of Italian Tirol, I, 125.
Grief, excessive, for the dead destroys their peace, II, 228, 234-7,
512 f.; III, 513 b; V, 62 f., 294.
Grimms, Kinder- und Haus-Märchen, I, 9, 14, 47, 125, 126, 198, 260
n., 408, 410; II, 127, 235, 502; IV, 17; V, 46 f.
Grímnismál, Edda, I, 67.
Grímr and Lopthæna, I, 292 f.;
Grímr consenting to three demands of a hideous woman, she
turns into his beautiful true-love, Lopthæna, who had been
transformed by her step-mother (Gríms saga Loðinkinna).
Gríms saga Loðinkinna, I, 292 f.
Der Grindkopf, Italian tale, II, 513 b.
Gromer, Sir, Sir Grummore Grummorsum, Gromer Somer Joure, etc., I,
289, and n., 290, and n.; V, 289 b.
Growth, marvellous, and other precociousness, especially in heroes of
tales and romances, II, 303, 305 f., 513 b; III, 515 b; IV, 35
n., 80, 479 b; V, 226 a, 295 a.
Guapos, Spanish ballads of, III, 49.
Gudeman of Ballengeigh. I, 404.
Gudrun, I, 94 n., 95 n.
See Kudrun.
Guenever, Arthur’s queen, I, 257 f., 260-3, 271-3, 279 n., 283, 293,
296; II, 43 n.
Guerino, son of the King of Sicily, tale of Straparola, V, 46.
Guillaume d’Orenge, V, 298 a.
Guillaume de Palerne, romance, III, 505.
Guinevere.
See Guenever.
Guingamor, Lay of, V, 290 a.
Guiscardo and Ghismonda, Boccaccio’s tale, V, 29.
Gull-Þóris saga, IV, 502 a.
Gun charged with nine yards of chain beside other great shot, less
and more, III, 341; IV, 505.
Gundeberg, wife of King Arioald, accused of adultery, vindicated by
champion, II, 39.
Gunhild, daughter of Cnut the Great, II, 37.
Gunild, Gunder, wife of Henry, Duke of Brunswick, II, 34-36;
Gunhild, daughter of Cnut the Great, wife of the Emperor Henry III,
37.
Gunnlaugs saga, II, 35 n.; V, 298 a.
Gustav Adolf und der Abt von Benediktbeuern, tale, I, 408.
Guthmund, I, 323.
Gwion and Koridgwen, Welsh tale, I, 402; II, 506 b; III, 507 a; V,
216.
Gypsies, IV, 62-74; V, 190.
Gypsy Davy, IV, 67, 72, 74;
Gypsy Geordie, 70.
Die Hahnkrähe bei Breslau. Silesian tale, I, 196 n.
Haig, James, IV, 281.
Hair, worn loose or in a braid by maid, bound up by married woman,
II, 64 n., 69, 74 (=D= 3, =E= 3), 78 (5).
Hair, woman’s, added to a rope to lengthen it, I, 40;
man’s, III, 516 b;
sea-king’s daughter makes a rope of sixty ells’ length with her
hair; maid with hair a hundred fathoms long, I, 486 (both used
to draw a man out of a well or pit);
maid’s hair long enough to climb up by, I, 486 f.;
woman’s hair five quarters long, III, 437; IV, 167 f.;
man’s hair three, five, quarters long, IV, 172-4.
Hair:
woman ties her hair ronnd her dead husband’s, lover’s, waist, hand,
and carries, draws, him home, IV, 166-8; V, 255;
ties his hair (five quarters long) to her horse’s mane and trails
him home, IV, 173;
twines his hair (five quarters long) round her hand and draws him
out of a river, 174;
twines her hair about his waist and draws him out of a river, 179.
Hair of maid substituted for mistress cut off and exhibited as token
of conquest of the supposed mistress’s virtue, V, 22, and n.
Hálf’s, King, ship saved from foundering by man jumping overboard
(and drowning), II, 15.
Hálfs saga, I, 95.
Hall.
See under Family Names.
Hall, Dicky, delivers his brother Archie from jail, III, 487-9, 492-4;
he is assisted by Jocky Hall, III, 487-9;
Jocky is the leader and Dick second, 489 f., 491 f.
Hall, knights and others riding into, II, 51, 54, 510 b; III, 508 a;
horses stabled in hall or bed-room, II, 51, 510 f.; III, 508 a.
Halloween, I, 342, 25, 344, 24, 345, 6, 346,
16, 347, 8, 349, 9, 351, 30, 352,
8, 507, 1, 2; III, 505, 11; IV,
456, 458 (eve of All Saints, when fairy folk ride);
hemp-seed sown by girls for a vision of their true love, V, 59, 286
a.
Hamilton.
See under Family Names.
Hamilton, John, Archbishop of St Andrew’s, III, 442, 445 f.
Hamilton, Mary, maid of honor to Catharine, Tsar Peter’s wife, her
history, III, 382 f.;
agreements with the Scottish ballad, 383.
Hamilton, Mary, in the ballad, scorns the offer of life after having
been put to public shame, III, 386, 388;
historical foundation for the ballad of Mary Hamilton (No 299),
views of Andrew Lang, the affair of the Frenchman and the
Queen’s apothecary, V, 298 f.
Hamiltons in Russia, III, 382 f.
Hanpang and Ho, Chinese story, II, 498.
Hans ohne Sorgen, tale, I, 408, and n., 409 n.
Hans Sachs, I, 196 a, 267; II, 40 n., 42; III, 258; V, 210.
Haraldr Harðráðr, III, 17.
Hardy, Spence, Manual of Buddhism, I, 11 n.
Harlaw, Battle of, ballad, III, 316 ff.
Harp, power of, I, 216 f., 439; II, 137, 139 f., 511 f.; V, 220 b,
293 a;
everybody harped to sleep but the king’s daughter, etc., I, 55; II,
137, 139 f.; V, 220 b;
all the lords harped asleep, IV, 18-21;
Quintalin’s harp decoys women, I, 50;
harp, viol, or fiddle made from drowned maid’s body, I, 121 f.,
126-35;
or from tree into which the drowned girl had grown up, 121, 124,
493 b;
the instrument of itself, or when played upon, reveals that the
girl was drowned by her sister, 122, 126-35.
Harpkin, I, 21.
Harribie (Harraby Hill, about a mile from Carlisle, formerly the
place of execution), III, 463 f., 472.
Hass-Fru, Swedish tale, I, 461 n.
Hatherof==Athulf, Horn’s faithful friend, I, 192.
Hawk, riddle of: if not in good order, lady has been unfaithful, I,
191, and n.
Head, Halewijn’s, Roland’s, Gert Olbert’s, Jan Albert’s,
Schön-Albert’s, speaks after it is cut off, I, 25, 26, 30, 49,
485 f.
Heads of men who have failed in an enterprise displayed on castle
walls, or on palisades of stakes, with one place left, pour
encourager les autres, I, 417 n.; II, 507 b; III, 507 a; IV,
459 b; V, 291 a (three stakes for three adventurers, V, 216).
Heads of thirty Portuguese sent home, salted, by Sir Andrew Barton,
to be eaten with bread, IV, 502, 505.
Heart, lover’s heart cut out and sent to his mistress by her father,
or husband, V, 29-38, 303;
the heart is sent cooked and is eaten by the lady, 31-34;
heart (stewed) of a girl given her husband by jealous wife, 34;
heart served by twelve husbands to their twelve wives, 34.
Hearts, children’s, man who had devoured nine would have power of
flying, I, 34 n.
Hecatommithi of Giraldi Cinthio, ix, 8, V, 13.
Heimir, V, 243 b.
Heinrich von dem Türlîn, Der Mantel, I, 259 f.;
Diu Crône, 264, 266, 279 a.
Heiðreks saga, V, 8.
Heinz der Kellner, his Turandot, I, 418 a; II, 507 b; V, 291 a.
Helgakviða Hjörvarðssonar, I, 94, and n.
Helgakviða Hundingsbana, II, I, 67, 94 f.; II, 228, 235; III, 306.
Helgi and Sigrún, II, 228, 235.
Heliodorus, Aethiopica, I, 270.
Hemingr and King Haraldr contend in feats: Hemingr shoots a nut from
his brother’s head, III, 17 f., 518 b.
Hemings Þáttr, III, 17, 19 n.
Hemp-seed sown by girls on the eve of All-Hallows to obtain a sight
of their true-love, V, 59, 286 a.
Henning Wulf’s apple-shot, III, 17.
Henri IV, La Partie de Chasse de, Collé’s drama, V, 75.
Henry V, of England, his conquest of France, ballad, III, 320 ff.
Henry, Duke of Brunswick, and his wife Gunild, II, 34-6.
Henry of Brunswick (Henry the Lion), Reinfrid of Brunswick, I, 194-6,
197 n., 459, 502 b.
Hereward the Saxon, III, 43, 109, 476 n.; V, 287 b.
Herod and St. Stephen, I, 233 ff.
Herodotus, I, 271; V, 212 b.
Herr Peder den rige, Scandinavian representative of Young Beichan,
I, 459-61.
Der Herr von Falkenstein, tale, I, 459 n.
Hervarar saga, I, 405; II, 50 n., 127.
Das Herz, Das Herzmäre, rhymed tale of Konrad von Würzburg, V, 33,
303 b.
Herzog Ernst, I, 197 n.
Herzog Heinrich der Löw, Historia, of Hans Sachs, I, 196; V, 210.
Hey trollie lollie love is jolly, from a Yule medley, IV, 93.
Heykar, Geschichte des weisen, I, 11 n., 12 f.
Heywood’s Hierarchy of the Blessed Angels, I, 85.
Hideous woman will answer questions for Arthur (or other), whose
life is at stake if he does not give the right reply, only on
condition of her marrying Gawain, or the young man who is in
danger, I, 289, 291, 292, 294;
she turns into a beautiful young girl on being allowed to have her
own way, 290, 291, 292, 295 f.;
hideous woman, magically transformed, restored to her proper beauty
by being allowed to have her whole will, I, 293, 297-9;
hideous woman converted to beautiful one on being married to her
will, I, 507 a.
See V, 289 b.
Highlander induces a Lowland lass to marry him in spite of the
opposition of her parents, IV, 256-75, 524;
he pretends that his father is a shepherd, his mother a dey, etc.,
but after putting her to a severe trial turns out to be a
gentleman of wealth and importance, a Macdonald, 255-66, 524
(Donald, Earl of the Isle of Skye, 271 f., 274 f.);
Highlander preferred by girl to Lowland man or English, IV, 267;
Highlander induces girl to go with him regardless of her father’s
opposition, V, 165 f., 306.
Hildebrandslied, I, 196.
Hildesage, I, 94, and n., 95 n.
Hildina, in Shetland ballad, I, 94 n., 95 n.
Hill-king:
see Dwarf-king, Merman, Hind Etin.
Hill-maid promises man wonderful gifts if he will plight himself to
her, I, 314, 375; III, 504 a; V, 214 b.
Hind to be spared by hunter, I, 178, 183, 502 a; II, 156 f.
Hind Etin represents the dwarf-king, elf-king, hill-king of
Scandinavian and German ballads, I, 361: Hind Etin (Young Akin)
seizes on a king’s daughter in a wood, keeps her seven years
in a cave, where she bears seven sons; the eldest one day asks
the father why his mother’s cheeks are always wet and learns
her story; hearing music while hunting he is moved to take his
mother and brother with him, and they come to the king’s gate;
they are kindly received, the wood is searched for the father,
who is found tearing his hair, and the family live happily at
court.
See Dwarf-king, Merman.
Hirlanda, volksbuch, II, 33 n., 43 n.
Das Hirtenbüblein, tale, I, 410.
L’Histoire de Moradbak, I, 11 n.
L’Histoire de Palanus, Comte de Lyon, prose romance, II, 42.
Histoire de Sinkarib et de ses deux Visirs, I, 11 n.
Historia de Nativitate Mariae et de Infantia Salvatoris,
II, 1, 2 n., 7.
De Historia van Florentina, etc., I, 268, 459 n.
Hjalmar, Odd and Anganty, II, 50.
Hjálmtérs ok Ölvers saga, I, 306 f., 315, 489 b.
Hobby Noble, chief in the rescue of John o the Side, III, 477-9;
helper, 479-83;
Hobie Noble betrayed to the English by Sim o the Mains, IV, 1.
Hobby-horse, III, 45, 47 f.
Hoccleve. See Occleve.
Hód, Hóde, the name, III, 47 n.
Holinshed, Chronicle of Scotland, II, 143; III, 2, 517.
Holofernes: Professor Bugge’s suggestion that the Halewyn ballad (No
4) is derived from his story, I, 51-54.
Home. See under Family Names.
Homer, Iliad, I, 84; III, 290 n., 306, 367;
Odyssey, I, 322 n., 338 n.; II, 441; III, 510 b; IV, 377;
Hymn to the Delian Apollo, I, 84.
Homildon, the battle of, alleged to have been “done” to requite the
death of Percy in the Hunting of the Cheviot, III, 304, 310,
313 f.
Hood==Odin, I, 95;
old Carl Hood, I, 67, 92, 95, and n., 489; IV, 443 f.;
Auld palmer Hood, IV, 445;
Síðhöttr, Deephood, I, 95.
Hood, Thomas, his Lost Heir, III, 234 n.
Hoodening, Hood==Hooden==Woden (Kuhn), III, 48.
The Hoodie, Gaelic tale, I, 290 n., 503.
Horn of elfin-knight inspires maid with longing for him, I, 15-17,
55;
so Quintalin’s harp, 50;
boon of blowing on horn (often asked by man in difficulty or about
to be executed, and often three blasts), III, 122 f., 125, 166,
182; V, 2-6, 8, 127 (pipes, V, 3);
see, also, III, 157; V, 279;
witch’s horn, I, 315; V, 215;
hornblower, hornblâse==witch, I, 314;
horn which will furnish any liquor that is called for, I, 266;
horn filled with pure water, the water turns to the best of wine,
I, 263;
horn out of which no cuckold can drink, etc., I, 263 ff.;
horn and lease, tenure by, III, 360.
Horn, fastnachtspiel of the, I, 263.
Horn Childe and Maiden Rimnild, romance, I, 188, 191-3, 200, 269,
502 a; IV, 401; V, 287 b.
Horn et Rymenhild, French romance, I, 188, 190-3, 502 a.
Horn, Hind, ballad, I, 187 ff., etc.
Horn, King Horn, gest, I, 188-90, 192, 201 n.; IV, 401.
Horse, high-mettled, I, 199, and n.;
horse shod with silver before and gold behind, I, 341; II, 183,
185, 191, 194, 266 f., 315, 343 f.; V, 224;
horse, old white cut-tail preferred to a choice among thirty fine
steeds, II, 444 f., 450, 453 f.;
Walter of Aquitaine’s worn-out charger, II, 441; III, 276.
Horses stabled by knights in hall or bed-room, II, 51, 54, 510 f.;
III, 508 a;
horses’ shoes reversed to deceive pursuers, III, 476 n., 479 f.,
487, 489;
youth torn by four wild horses on the false charge of a woman, V,
157;
patrons of horses, St. Stephen, St. Eloi, St. Antony, I, 235 f.
Horsley, William, a bowman employed by Lord Howard against Andrew
Barton, III, 339, 341-3, 345, 348-50; IV, 503, 505-7.
Host, the consecrated.
See Communion-bread.
House of Marr, IV, 157;
of the Rhodes, III, 433;
of Rothes, V, 247 f.
Housekeeping: lady’s preparations to receive her husband, IV, 312-17,
319 f.; V, 270 f., 301.
How Fraud made entrance into Russia, Russian tale, IV, 459 b.
How long and dreary is the night, air, IV, 302.
How the King of Estmure land married the King’s Daughter of
Westmure land, title in The Complaint of Scotland, II, 51 n.,
296.
Howard. See under Family Names.
Howard, Katherine, said to have exerted herself to procure Thomas
Cromwell’s death, III, 377.
Hrafn and Gunnlaugr, V, 298 a.
Hrólfs saga Kraka, I, 290 n., 297 n., 393, 489.
Hrómundar saga, I, 67, 95.
Hugdietrich, II, 50; IV, 463 b.
Huon de Bordeaux, I complementi della chanson d’, I, 502 a.
Hugh Spencer, the ballad, resembles in a general way Russian
bylinas, III, 276; IV, 499.
See Spenser.
Hugh Willoughby, a comrade of Hugh Spencer, III, 279 f.
Hugo, Emperor of Greece, Charlemagne’s visit to, I, 275-9.
Hume.
See under Family Names.
Hume of Godscroft’s History of the Houses of Douglas and Angus, III,
292; V, 202.
Hunt, an English captain, released on oath by Sir A. Barton, joins
Lord Howard in an attack on the Scot, trusting that God will
forgive his perjury, III, 340; IV, 504.
Hunter’s (J.) identification of Adam Bell, III, 21 f.;
of Robin Hood, III, 55 f.
Hunting of the Cheviot has the battle of Otterburn for its
foundation, III, 304.
Hyacinthus, flower from his blood, I, 99.
Hysmine and Hysminias of Eustathius (Eumathius), I, 270; II, 13 n.
Hystoria de la reyna Sebílla, Spanish tale, II, 40.
I cannot eat but little meat, song in Gammer Gurton’s Needle, V,
132 n.
I have a good old woman (wife) at home, tunes, III, 518.
I have a ȝong suster fer beȝondyn the se, riddle song, I, 415.
I have four sisters beyond the sea, riddle song, I, 415 n.
I sowed the seeds of love, song, V, 258 f.
Il’ja of Murom, captain of the march-keepers, will allow no one to
pass; has a fight with a young man who passes nevertheless; is
worsted at first: cf. Robin Hood and the Potter, IV, 497 a.
Images in church turn their backs when abandoned woman enters, I, 231;
so when merman comes in, I, 365 a;
everything bows when merman’s (human) wife enters, I, 365 b.
Importance of asking brother’s consent to marry, I, 497 f.
Incestuous connection, I, 185 f., 444-54; III, 500 f.; IV, 450; V,
210.
Ingenuity a transcendental virtue of Mahāyāna Buddhism, I, 11 n.
Innocent blood turns, every drop, to a burning candle, I, 172; II, 39
b.
Interest on loan not obligatory, but the security forfeitable in case
of non-payment, III, 52, 60 (85-7), 62 (121);
no interest paid by the knight to the abbot for the loan of £400
for a twelvemonth, III, 62;
present to Robin Hood of 20 mark for the same loan and time
(besides 100 bows and 100 sheaf of long and handsome arrows),
III, 62, 69.
Iouenn Kerménou, Breton story, III, 501.
Ipomydon, romance, II, 510 b; V, 47.
Iron band forged round a man’s waist as penance, I, 172;
man goes on pilgrimage, weighted with iron on hands and loins, II,
128.
It was far in the night, and the bairnies grat, V, 203.
Italian (Talliant, Tailliant), a champion, leaps over his adversary’s
head and is spitted, II, 378, 383, 385, 387 f.
Ivan Carevič i Marfa Carevena, Prince John and Princess Martha,
Russian tale, V, 281.
Ivanhoe, Scott’s, III, 43; V, 72 n.
Jacinth, refuses to be worn by adulterer, V, 289 a.
Jacques de Vitry, III, 54, 258 n.
James, Protevangelium of, I, 271.
James IV of Scotland threatens his queen with death for advising him
not to make war with England, III, 351 f.
Jane (Seymour), Queen of Henry VIII, her death in child-bed, ballad,
III, 372 ff.
Jātakas, V, 292 a.
Jehan de Paris, Le Romant de, I, 191 n.
Jehan et Blonde, Old French romance, I, 191 n.; V, 287 b.
Jews charged with crucifying Christian boys in contempt of Jesus,
III, 235-9, 241;
with murdering a boy for singing the praises of the Virgin, 239 f.;
with murders to obtain blood for use in Paschal rites, 240-243; IV,
497 a;
reason not specified, III, 243-54; IV, 497 f.; V, 241;
such murders the reason for the expulsion of Jews from France and
Spain, V, 241.
Jhonne Ermistrangis dance, III, 362 f.
Jock of Hazeldean, Scott’s, V, 160.
John II, the Good, of France, III, 283, 287; V, 132.
John of Atherly, a comrade of Hugh Spencer, III, 279 f.
John o the Scales, V, 14 f.
John (Jock) o the Side, notorious thief, harbors the Countess of
Northumberland, III, 409, 419, 475;
taken in a raid and imprisoned at Newcastle, gallantly rescued by
Hobby Noble, 477-9;
by the Laird’s Jock, with Noble as a comrade, 479-83.
John the Reeve, rhymed tale, V, 69, and n., 71 n., 72 n., 73.
John (Joan) Thomson’s man, a history; Scottish proverb, V, 8.
Johnstone, Willy, of Wamphray, the Galliard, III, 458-60.
Johnstones, III, 296;
affray with the Crichtons, III, 458-60;
with the Maxwells, III, 485;
feuds with the Maxwells, IV, 34-8;
Sir James Johnstone killed by Lord Maxwell, 35, 51.
Joie des Bestes à la nouvelle de la naissance du Sauveur, I, 240 f.,
505 f.; II, 501 b; IV, 451 f.; V, 288 a.
Jonah, story of, perhaps the source of tales of ships arrested in
their progress by having guilty persons on board, I, 245; II,
14 n.
Jonson, Ben, Bartholomew Fair, IV, 302;
Discoveries, V, 285;
Masque of the Metamorphosed Gipsies, III, 45;
his admiration of ‘Chevy Chase,’ III, 305.
Josefs Gedicht von den sieben Todsünden, II, 507 a.
Joseph, testy or suspicious towards Mary, II, 1-4, 6.
Joseph and Mary subjected to an ordeal of chastity, I, 271.
Joseph and the Angel, carol, II, 1.
Josephus, I, 404.
Joufrois, Old French romance, III, 508 a.
Jourdains de Blaivies, romance, IV, 502 b.
The Jovial Crew, ballad-opera, II, 127 n.; III, 133 n.
Joy of the beasts at the news of the birth of Christ, I, 240 f.,
505 f.; II, 501; IV, 452 a; V, 288 a.
Judas and the legend of the roasted cock, I, 240, 505 b;
Judas took tithes of all money that came into his hands, I, 242;
legend of the thirty pieces, in Wendish ballad, 242 f.;
in English ballad, 243 f.
Judicial combats, II, 34-40, 42 f., 46, 48; III, 508 a; IV, 371-3;
oath in, II, 35 n.; IV, 463 b;
qualified perjury in, II, 35.
Judith, the Old German, I, 51 n.
Judith and Holofernes, the relation of the story to Lady Isabel and
the Elf-Knight, I, 51.
Judith, wife of Louis le Débonnaire, accused of adultery, II, 43 n.
Der Jungherr und der treue Heinrich, rhymed tale, V, 39.
The Justice dealing with outlaws, III, 23-6.
Kalevala, I, 445 f.; II, 506 b, 507 b, 511 b; III, 367.
Kâlidâsa, II, 235.
Kämpa Dater, Nordiska, Björner’s, I, 50, 259; II, 57 n.
Kanjur, Vinaya (Buddhist), I, 11 n., 12 n.
Karl der Grosse (Enenkels Weltbuch), I, 199 n.
Karl Meinet, II, 43 n.
Karlamagnus Saga, I, 275, and n.; II, 39 f.
Karodes, the mantle of, I, 261.
Kathá-sarit-ságara, I, 200 n., 268; II, 495, 502 a; IV, 454 a, 463 a,
Kay, Arthur’s steward, I, 245 f., 272;
Kay’s wife, I, 272.
Kay, Kempy, ballad, I, 300 ff., etc.
Ker, Captain.
See Car.
Keraint.
See Bardd.
Ketilbjörn, IV, 502 a.
Kidnapping women for compulsory marriage, IV, 232-54, 309 f., 424
(?); V, 261-4.
Kilhwch and Olwen, Welsh tale, I, 210, 279 n., 281 n.
King and subjects, meetings of, V, 69, 75, n.; 69-86;
king harbored by reeve, collier, shepherd, etc., 69-74, 84-86, 303
b;
his hosts have made free with his deer, 70-72, 85 f.;
munificence of the king, V, 70 f., 73-5, 77, 80, 83, 86.
King found before his gate, II, 52, 4.
King (queen) lets in maid (or other) that knocks, II, 387, 393, 459,
461 f., 471, 474 f.;
Lady, Lord Bangwill, Lord Barnard, Earl Percy, or some principal
person, does this, II, 150, 184, 186 f., 187, 190, 253, 266 f.,
284, 286, 383; IV, 467.
King visits Robin Hood in the disguise of an abbot, III, 74;
serves Robin Hood with a buffet upon Robin Hood’s missing the mark,
is recognized, and pardons the outlaws on condition of their
entering his service, 76.
King who regards himself as the richest, most magnificent, etc., in
the world is told that there is one who outstrips him, and
undertakes to see for himself whether this is so, threatening
death to the person who has affirmed his inferiority in case
this is disproved, I, 275, 279 n., 281, 282 f., 283, and n.;
III, 17 n., 503 b. Cf. Robin Hood, III, 124.
King, young, nice about choice of wife (or his guardians), and the
princess proposed to him won with difficulty, II, 51-5; IV, 463
b.
The King and the Barker, rhymed tale, V, 68, 69 n., 78.
The King and the Cobbler, a prose history, V, 74, and n.
The King and the Miller of Mansfield, Dodsley’s drama, V, 75.
King Alisaunder, romance, V, 297. See Alexander.
King Edward and the Hermit, rhymed tale, V, 72, and n.
King Edward Third and the Shepherd, rhymed tale, V, 71, 72 n.
King Edward the IIIJth and a Tanner of Tamworthe, A merye, pleasant,
and delectable history betwene, V, 68, 81.
King Heiðrekr and Gestr, their riddle-contest, I, 405, and n.
King Henry II and the Abbot, story in Giraldus Cambrensis, V, 72.
King Henry II and the Miller of Mansfield, V, 69, and n.
King Henry the Eighth and the Abbot of Reading, The pleasant History
of, I, 404.
King Horn, gest, I, 188-91, 192, 201 n.; IV, 401; V, 287.
King John and the Bishop, similar tales, I, 405-10; II, 506 f.; IV,
459 b; V, 216 a.
King Orfeo, romance and ballad, I, 215 ff.; II, 500; III, 502; IV,
451; V, 211.
King Rabssaldschal and his minister’s daughter-in-law, Tibetan tale,
I, 12 f.
King Ramiro, Southey’s ballad, V, 4 n.
Kinge and Miller, V, 69 n., 84.
King’s armor, knight’s wearing it in battle, III, 283 a; V, 297 b.
King’s receivers plundered by Robin Hood, III, 229.
See Robin Hood and Queen Katherine.
The King’s Son, Kraljev sin, Bosnian tale, V, 45 f.
Kings and Queens of England:--
Charles I, IV, 56, 58-60?
Edward I, III, 43, 257; V, 69.
Edward II, III, 43, 55.
Edward III, III, 282, 284, 286 f.; V, 71, and n.
Edward IV, V, 68, 77, 83.
Edward VI, III, 378.
Edward, III, 73, 75, 78; V, 72.
Henry II, III, 257-64; IV, 498 f.; V, 69, 72 f., 84, 242.
Henry III, III, 236-9.
Henry IV, III, 21, 310, 313 (see 304); V, 67, 75.
Henry V, III, 21, 321-6.
Henry VII, III, 328, 331-3, 356.
Henry VIII, I, 404; III, 198-207, 335 f., 338 f., 342 f., 345, 348,
350-52, 354-6, 358-60, 373-7, 401; IV, 503, 506 f.; V, 74, 245
f.
Henry, IV, 17-22.
James I of England and VI of Scotland, III, 442-6, 448-50, 452-6.
James II of England and VII of Scotland, IV, 111-15.
John, I, 410-14.
Richard I, III, 220, 223, 227, 229-32, 508 b.
Richard III, III, 331-3, 356.
William III, V, 74.
Eleanor of Aquitaine, Queen of Henry II, III, 257-64; IV, 498; V,
241.
Eleanor of Castile, Queen of Edward I, III, 257.
Elizabeth, III, 406.
Jane Seymour, III, 372-6; V, 245 f.
Katherine, III, 198-204, 206 f.
Kings and Queens of Scotland:
Alexander III, II, 19.
David Bruce, III, 284-7.
James I, III, 309, 313 (see 304); V, 73 n.
James III, II, 19.
James IV, III, 351 f., 355, 359; V, 187 f.
James V, I, 404; III, 364-71, 411; V, 73 n., 74, 109.
(See James I, II, of England).
Margaret (James IV), III, 351 f.
Mary Stuart, III, 378, 381 f., 384-404, 424, 426, 442, 444, 446;
IV, 508-13; V, 246 f.
(Stuarts:--
Charles I, IV, 55 f.
James Francis Edward, IV, 116, 118-23; V, 255.
Prince Charlie, IV, 55-57, 60; V, 252.
Captain Stuart, IV, 109.
Lord Thomas Stuart, IV, 425).
Kinmont, Will Armstrong of, III, 469 ff.
Kiósut, Bulgarian tale, V, 281.
Kiss of courtesy, II, 435;
three kisses, to disenchant, I, 307-11, 313, 338 n.; II, 502 b, 504
f.; III, 504 a; IV, 454 a; V, 214, 290.
Kissing of fairies, etc., puts one in their power, I, 322, and n.,
325.
Kit o Thirske, a pedlar, beats Robin Hood in fight, III, 172.
Kitchie boy in ballads, II, 102, 114; IV, 403-5 (405, footboy), 407;
V, 34-8, 277 f.
Klephts, III, 49;
Giphtakis, III, 54;
Dimos, III, 104.
Die kluge Bauerntochter, kluge Dirne, kluge Hirtentochter, tales of
The Clever Wench, I, 8-12.
Knife which will serve four-and-twenty men at meat all at once, I,
266;
knife lost, figuring a lover, III, 501 a;
sheath and knife for mother and child, I, 183 f., 186; V, 210.
Knight who has forced a woman, to marry her if bachelor, be hanged if
married, II, 460 f., 464, (466), 469, 471, 474 f.; IV, 493.
The Knight of Curtesy and the Fair Lady of Faguell, romance, V, 33.
Knight of the Swan, Elias, III, 515 b.
Knighthood, distraint of, III, 51, 58.
Knots loosed in Scotland at marriage ceremony and at the approach of
parturition, so among Laps and Norwegians, I, 85.
Koadalan, Breton tale, I, 401, 402.
Kongen og Bonden, Danish tale, V, 74.
König Artus mit der Ehbrecher-brugk, Historia of Hans Sachs, I, 267.
König Rother, I, 197; IV, 463 b; V, 2.
Der Königssohn und der Bartlose, Greek tale, V, 281.
Korolevič i ego Djad’ka, The prince and his Guardian, Russian tale,
V, 281.
Korrigan, Breton fairy, refused by man whom she asked to marry her,
gives him the choice of dying in three days or languishing
seven (three) years, I, 379.
Kraljev sin, The King’s Son, Bosnian tale, V, 45 f.
Kranzsingen, riddles, I, 2 n.
Kristni saga, I, 96.
Kron, das vasnachtspil mit der, I, 266.
Die Krone der Königin von Afion, meistergesang, I, 267.
Kudrun, II, 137 b.
See Gudrun.
Kullervo, story of, in Kalevala, I, 445.
Kung Lindorm, Swedish tale, I, 290 n.
Die Kunigin von Frankreich, dy der Marschalk gegen dem Kunig
versagen wart, u. s. w., meisterleid, II, 40.
Diu Kunigin von Frankrich und der ungetriuwe Marschalk, German
metrical tale, II, 40.
Den kydske Dronning, poem of Jeppe Jensen, II, 42.
Kyng Alisaunder, romance, II, 511 b; III, 306; V, 297.
Kyng of Tars, romance, II, 511 b.
Kyng Orfew, romance, I, 216.
Kynge Henry the IIIJth and the Tanner of Tamowthe, The story of, V,
67.
Kytice z básní, Polish tale, V, 60 b.
La Fontaine, I, 265; III, 258; V, 13.
The Lad with the Skin Coverings, Gaelic tale, V, 216 a.
Lady goes in search of lover; warned by Billy Blin or fairy that
that very day or the morrow is to be his wedding day, I, 456;
lady leaps the castle-wall and is caught by her lover, II, 407, 409
f., 413;
lady solicited by knight discovered to be his sister, II, 481.
Lady Bessy, a ballad-history of Henry VII’s compassing the crown of
England, III, 331, 354 n., 378.
Lai de Doon, II, 506 a; III, 518 b.
Lai de Guigemar, IV, 377.
Lai d’Ignaurès, V, 34.
Lai de Lanval, I, 339; II, 510 b.
Lai d’Orphée. See Lay of Orfeo.
Lai de Tydorel, II, 505.
Lai d’Yonec, V, 39.
Lai de l’Espine, II, 500 a, 511 a.
Lai del Fraisne, II, 67 f.;
old English version, Lay le Freine, I, 216; II, 67 n.
Lai du Corn, I, 262 f.; II, 43 n., 511 b.
The Laird’s Jock (probable nephew of Johnie Armstrong) III, 462 f.;
rescues Jock o the Side, 479-83.
Lancelot, the Dutch, I, 260.
Lancelot, the French prose, I, 257 n., 267.
Lancelot, Sir, I, 295.
Lancilotto del Lago, I, 267.
Landres rímur, II, 40.
Lanet, I, 261, 266 f.
Lanethen Mantel, meistergesang, I, 261, 267.
Lanzelet, of Ulrich von Zatzikhoven, I, 260, 308, 338.
Lass o Livingston, a song, IV, 232 n.
Last word, importance of getting, when contending with mischievous
personages and in wit-contests generally, I, 11, 20-2, 485;
III, 496 a; IV, 440 b.
Launfal, I, 320 n., 339; II, 510 b.
Lay of Orfeo, I, 216; II, 500 a.
Lay of the Reedwater Minstrel, Roxby’s, IV, 25.
Layamon, I, 67 n.
Lazarus.
See Dives and Lazarus, No 56 (II, 10 ff., etc.).
Leaf sent down a stream by a maid to warn mother, sister, that she
is in danger, I, 40 b, 487 a.
Learning unco lair (lear), II, 118 f., 174, 178; III, 385; IV, 411;
467.
Leather, corpses enclosed in, III, 352 f.; IV, 507 a; V, 298 a.
Left shoulder.
See Shoulder.
Legenda Aurea, I, 14 n., 229, 237, 242 n., 245 n., 505 a; II, 235,
507 a; III, 51, 294 n.
Legitimacy of children, test of, by swinging or dipping them in the
Rhine, I, 271 n.
“Lenore,” ballads and tales, I, 487 n.; V, 59-67, 303 b.
Leper, black beggar, young lad, thrall, scullion, dwarf, put
into noble lady’s bed, or introduced into her chamber, to
incriminate her, II, 39-42, 44, 47.
Leprosy, blood of children or virgins reputed a cure for, I, 47, 50
n.; IV, 441 b; V, 285.
Die Lerche, Kirghish lay, II, 506 b.
Leys, Baron of, ballad, IV, 355 ff.
Libeaus Desconeus, romance, I, 308; V, 290 a;
its relations to the ballad of the Earl of Westmoreland (No 177),
V, 299 b.
Liddesdale, Knight of, ballad, III, 288.
The lie freely given in ballads, III, 367; V, 298 a.
Light kindles where innocent blood falls, I, 172; II, 39 b; V, 287 a.
Lilies spring from innocent man’s grave, I, 143.
Lilliard at Ancrum Muir, III, 306.
Lin, Linn, etc., stock ballad-locality.
See Lin, in the Glossary, V, 354.
Lincoln, Linkum, stock ballad-locality.
See Linkum, in the Glossary, V, 543.
Lindsay.
See under Family Names.
Lind-worm offers gifts to persuade a young woman to become his love,
I, 314.
Lion killed by Sir Cawline without a weapon, by thrusting mantle in
lion’s mouth and holding him to the wall, II, 60;
tearing out of lion’s heart by Richard Cœur de Lion, III, 508 b;
London Prentice, the hearts of two lions, III, 508 b;
Cuculin pulls liver and lights out of the throats of two lions, IV,
463 b.
Lions in Scotland, II, 407, 409; III, 517 b.
Little Billee, Thackeray, I, 457 n.; IV, 370 n.
The Little Boy with the Secret and his Little Sword, Magyar tale,
I, 11 n.
Little John:
is Robin Hood’s principal comrade, III, 41, 56 ff.;
brings in the knight to Robin Hood’s lodge, 57;
is lent to the knight as servant, 60;
lent to the sheriff, whom he plunders and decoys into the hands of
Robin Hood, 63-66;
brings in the monk, 67 f.;
takes part in the sheriff’s shooting-match, is wounded in the
subsequent fight and carried off by Much, 70 f.;
roughly treated by Robin Hood, leaves him, and is made prisoner by
the sheriff, 92;
rescued by Robin Hood, 94;
quarreled with and struck by Robin Hood, leaves his service, 97;
is the only man that has his wits and courage when Robin Hood is
taken prisoner, 98;
kills the monk who has informed against Robin Hood, and rescues his
master, behaving with singular nobleness, 99 f.
See, also, 124 f., 127.
Later ballads:
beats Robin Hood in a fight and is taken into his troop, III, 135;
other fights of his, 137 (see, also, 228);
Little John disguised as a beggar attempts to join himself to
four beggars, is ill received by them, beats them and takes
£603 from them, III, 190;
Little John finds his match or superior, III, 109, 130, 155, 166
f., 169, 171.
Little John appears in the May-game, not apparently in the
morris-dance, III, 44-6.
Livingston. See under Family Names.
Loan miraculously restored, III, 52 n.; V, 297 a.
Localizing of ballad-stories, I, 24, 99, 173, 210, 340; II, 264, 321;
V, 287 a.
Locksly, Nottinghamshire, the birthplace of Robin Hood, III, 215.
Logan Water, or, A Lover in Captivity, a song, IV, 184 n.
Logie, Laird of, III, 449 ff., 520; IV, 515 f.; V, 299 f.
Long Lonkin, tale, V, 295 b.
Lord Derwentwater’s Goodnight, ballad by Robert Surtees, IV, 116.
Lord Livingston, Pinkerton’s ballad, IV, 432.
Loudon Hill, ballad, IV, 105 ff.
Loudoun Castle, III, 435-8.
Lousing of knight by maid, I, 27, 28, 32, 37, 46, 487, and n., 488;
IV, 440 b; V, 285 a.
Lovely, Leeve, London, III, 306.
Lover runs mad after the death of his mistress, II, 110, 124;
throws himself into bonfire after his mistress has been burned, II,
115, 121;
woman goes mad after lover and husband have killed one another, II,
130 f., 133;
after the death of lover, 169.
Lover’s tryst with a lady anticipated by a low fellow, I, 137-41.
Lovmand, Lagman, representative of Horn in Danish and Swedish
ballads, I, 193 f.
The Lowlands of Holland, a song, II, 156, 317, and n.; V, 229 b.
Loxly, assumed, or secondary, name of Robin Hood, III, 197 f., 201,
209.
L.P., signature of No 147, III, 208, 210; III, 518 a, 519 a;
indicating Laurence Price.
Lucian, De Luctu, II, 236.
Ludie, daughter of the emir of Orbrie, V, 6.
Ludus Sancti Jacobi, Provençal mystery, I, 238.
Lunet, Laneth, I, 261.
Der Luneten Mantel, fastnachtspiel, I, 261, 267.
Lyne, brig o, II, 290.
Lynn, stock ballad-locality.
See Lin in the Glossary, V, 354.
Mabinogion, I, 210, 266 n., 279 n., 281 n.; II, 51; V, 24 n., 216 a.
Mable, Book of, a prophetical book, III, 420, 422.
Macaire, romance, II, 40.
Macdonald.
See under Family Names.
Macgill of Lindores fights an Italian gladiator, II, 378.
Macgregor.
See under Family Names.
Madel, Dutch representative of Fair Annie, II, 67.
Madonna substituted for Lazarus in the legend of Dives and Lazarus,
II, 10;
Madonna and Jesus, III, 507 b.
Magdalen, legend of, I, 228 f.;
in southern ballads, I, 231 f., 504 f.; III, 502 b; IV, 451 b; V,
288 a;
singular episode from, in Golden Legend and in Digby Mystery of
Mary Magdalene, I, 245 n.;
legend of Magdalen blended with story of the Samaritan woman and
with that of the Cruel Mother, I, 228-30, 232; II, 501 b; III,
502 b; IV, 451 b; V, 288 a.
Mágus saga, I, 283 n.
Mahābhārata, II, 495; V, 294.
Maid cuts off her pap to release a man from a serpent and heal the
wound made in his body, the pap grows apace when she bears a
son, V, 177;
maid leaps from castle wall into lover’s arms, II, 410, 413;
maid solicited by a man tricks him, and when safe jeers at him, II,
480-93;
maid (noble), to vex knight who has been adjudged to marry her,
pretends to be a carl’s daughter, beggar’s daughter, II, 462-4,
467, 469 f., 471 f., 473 f., 476; IV, 494; V, 238 f.;
maid who has eloped with a pretended lover forced by him to strip,
I, 31-3, 39 f., 42 f., 50, 56 f., 59, 433, 486 b, 488; II, 496
b, 497; III, 496 f.; IV, 442;
maid will not give her faith to two brothers successively, I, 89,
91, 376, 378 n.
Maid Marian, in ballads, III, 43, 46;
simply mentioned, 198, 209;
disguised, fights with Robin Hood disguised, 219;
in May-game and morris, 44-6;
in the plays of The Downfall and the Death of Robert Earl of
Huntington, 46, 519.
Mallet, David, and his Margaret’s Ghost, II, 199 f.; V, 294 a.
Malleus Maleficarum, I, 489; III, 18.
Malory’s King Arthur (Morte Darthur), I, 257 n.; IV, 456 a; V, 289 b;
298 a.
Man in danger of his life dressed by landlady as woman and set to
baking, IV, 151-4;
man preparing to hang himself finds money, leaves the rope, with
which the owner of the money hangs himself, V, 13;
man who flies from home on account of enormous crime, in his
desperation commits his relations to miserable fates, I, 169
f., 445;
man who has assaulted maid, to marry her, if bachelor, be hanged,
if married, II, 460 f., 464 (466), 469, 471, 474 f.; IV, 493.
Mandeville, Sir John, his (fictitious) Voyage and Travel, I, 308;
III, 501; V, 209.
Les Manteaux, Caylus, I, 257.
Der Mantel of Heinrich von dem Türlîn, I, 259 f.
Le Mantel Mautaillié, fabliau, I, 257.
Mantle and costumes enclosed between two nut-shells, I, 260, and n.,
271.
Mantle, as chastity chest.
See The Boy and the Mantle, No 29, I, 257 ff., etc.;
Gaelic ballad of the mantle, I, 261 f.; V, 289 a;
the mantle of Karodes, I, 261.
Mantle Rhymes, see Skikkju Rímur, I, 264 n.
Már fights when both his hands are off, IV, 502 a.
Margaret Twynstoun, Twinslace, Vinstar, Weiksterne, frees her lover,
Wemyss of Logie, condemned to death, by taking him through the
royal bedchamber and letting him down from a window, III, 449
f., 452-5.
Margaret’s Ghost, David Mallet, II, 199 f.; V, 294 a.
Le Mari Confesseur, conte of La Fontaine, III, 258.
Marie de France,
Lai del Freisne, II, 67 f.;
Lanval, II, 510;
Guigemar, IV, 377;
Yonec, V, 39.
Marineo, Lucio, I, 238.
Maríu saga, I, 98; III, 52 n., 240.
Markenfield (Martinfield), Thomas, III, 418-22;
knows every banner, whether any man he has laid eyes on is friend
or foe, can speak any language, and has the gift of prophecy,
419 f.
Marko Kraljević, II, 357; III, 499 a, 507 b; IV, 463 b.
Marr, house of, IV, 157.
Marramiles, one of Arthur’s knights, I, 279, 284, 287.
Marriage ceremony interrupted by lover, who takes the bride, IV,
412-14.
Marriage, forced, justified as happiest, IV, 244.
Marriage:
maid to wait, lover absent, seven (eight, nine) years and not
marry, I, 189 f., 192-4, 459, 502 b;
maid and man parting, neither to marry for seven years, I, 191 n.,
464 f., 473, 477, 480; II, 508; IV, 461;
man gives his troth to woman to marry no other for seven years, I,
469 f.;
man parting with his wife engages her not to marry again for seven
years, I, 195 f., 198, 200 n., 462 (three cases);
for three, five, six, eight, nine or twelve years, nine years and
nine days, year month and day, I, 194, 197, 199, 200 (and 499),
461;
Epirot and Albanian custom of betrothing or marrying early in youth
and parting for long periods, I, 502.
Marriage, second, of wife prevented by sudden (often miraculous)
return of husband, I, 194-200, 502 f.; II, 499 b; III, 501; IV,
450 b; V, 210 b;
betrothed maid arrests marriage of lover to another woman, I, 502 f.
Marriage-contract, seigneur miraculously conveyed home on the eve of
his wife’s marrying identifies himself by producing one half of
his marriage-contract, which fits the other half left with his
wife, II, 499 b.
Marriages, unequal:
serving man preferred by Lord Arundel’s daughter to Lord Phenix,
II, 441-55;
lady refuses nine gentlemen for servant-lad, ploughman, IV, 172 f.,
522; V, 255;
Earl of Wigton’s daughter marries footman, IV, 292-9; V, 270;
lady of birth and fame loves a kitchenboy, IV, 403-8; V, 277 f.
Martial, Epigrams, IV, 186.
Mary, Mild, II, 309, 315;
Mary Mild, Myle, Moil, II, 72; III, 386, 395 f., 398 a; IV, 507 f.,
510 f.;
Mary Miles (corruptly), IV, 511;
maidens mild, II, 312, 314, 316; V, 227.
Masenžny Dzjadok, White Russian tale, V, 281.
Mass, forced, exacted by Robin Hood, III, 192, 199, 202, 228.
Massinger, The Picture, I, 269.
Matthew, apocryphal Gospel of, I, 271; III, 1, 2 n., 7.
Matthew Paris, Chronica Majora, II, 37, 143; III, 235, 241, 519.
Matilda Fitzwalter, Maid Marian, III, 56 n., 214, 218, 519.
Matildas, three, popularly supposed to have been persecuted by King
John, III, 519.
Maximilian II (Emperor) and a charcoal-burner, Bohemian tale, V, 75.
Maxwells:
affray with the Johnstones, III, 485;
feuds with the Johnstones, IV, 34-8;
Lord Maxwell kills Sir James Johnstone, IV, 35;
Lord Maxwell’s Last Goodnight, ballad, IV, 34 ff.
See under Family Names.
May-game, III, 44-46.
Meilyr, story of, in Giraldus Cambrensis, his ability to expose lies,
I, 320 n.
Meisterlieder der Kolmarer Handschrift, I, 269, 270.
Meldrum, Squire, III, 306 n.
Mellerstain, Laird of, ballad, IV, 281 f.
Mélusine, romance, V, 226 a.
Mem and Zin, Kurdish poem, I, 98.
Memering, Mimmering, Mimmer, Mimecan, smallest of men, champion of
Gunild, II, 34-8.
La menta y’l Gaitx, Catalan tale, n, 510.
Merfolk apt to be ferocious, I, 366 n. (see 365 b, 366 a).
Merlin, Roman de Merlin, I, 257 n.; II, 113; IV, 454 a (English prose
romance);
(in Arthour and Merlin), IV, 479 b.
Mermaid, sight of, bad omen for ships, II, 19, 29 f., 32, 510 b; V,
149-52;
one has betrayed seven ships, II, 19.
Mermaiden affects man with some mortal ailment, I, 387-9 (probably
incited thereto by his inconstancy: see I, 372).
Merman entering church, all the images turn their backs; when woman
who has perforce been the merman’s consort enters church,
everything in it bows, I, 365.
Merman takes maid (princess) to the sea-bottom, where she lives some
eight years and has children; hearing the bells of home, she
longs to go to her mother and is allowed to pay her a visit,
taking her children with her; merman comes for her, she refuses
to return; merman says they must divide the children, three and
three each, and half of the seventh, I, 364 f.;
merman tears the children to pieces and hangs himself, 366.
See Dwarf-king.
Merman’s human wife, allowed to visit her mother, must not bow when
the priest pronounces the holy name, or make an offering, I,
364;
must not stay for the benediction, 366.
Message (deceptive) from dying man or woman to father, mother, etc.,
or prohibition of information to these of fact or manner of
death, I, 436-40, 442; II, 14, and n.; III, 381, 384 f.,
387-93, 395-8, 507 b; IV, 460 a, 508-10, 512 f.; V, 247.
Message repeated, II, 265 f., 268 f., 270, 272, 366;
message sent down a stream by a leaf, or linden shavings, I, 40 b,
487 a.
Messer Guiglielmo Rossiglione and Messer Guiglielmo Guardastagno,
Boccaccio’s tale of, V, 33.
Messer Torello, Boccaccio’s tale, I, 197.
Messire Gauvain, ou la Vengeance de Raguidel, romance, I, 257 n.,
260; II, 51.
Mestermø, Norse tale, Asbjørnsen, I, 461 n.
Metyard, archer’s, III, 103 n.; V, 297 a.
Midge, the Miller’s son, III, 202, 204.
See 197, and Much.
Mikkels Arvegods, I, 144 b.
Mild Mary.
See Mary.
Milk running from reputed maid’s breasts, I, 102 f., 179, 363.
Milk, wash my son in, I, 71, (and lay him in silk) 74, 79 f., (and
dress in silk) 221; II, 89, 91, 100, 408, 425, (and row in
silk) 426.
Les Mille et un Jours, I, 282, 283 n., 417; II, 43 n., 499; V, 13.
Les Mille et un Quart d’heure, Contes Tartares, V, 13.
Miller, monk, without cares, sans souci, ohne Sorgen, utan all sorg,
senza pinseri, pensà, sem cuidados, I, 408 f.; II, 507.
Miller and King, V, 69 n.
The Miller of Mansfield, in Sherwood, and Henry the Second, King of
England, The Pleasant History of, V, 69 n., 84.
The Miller of Mansfield in Sherwood and K. Henry the Second, etc.,
a pleasant new ballad of, V, 69 n.
Millers, priests, shepherds, etc., nothing else left in England, at
epoch of Durham and of Flodden Field, III, 282, and n., 284-6,
352.
Mills which grind sugar and cinnamon, mace and cloves, I, 113;
cinnamon, II, 65.
Milon, steward, false accuser of Olif, wife of King Hugo, II, 39 f.
Mimecan, dwarf, champion of Gunhild, II, 37 f.
Mint cursed for not concealing Joseph and Mary, II, 8 n.
Miracle de la Marquise de Gaudine, II, 42.
Miracles. See Light, Fountain, Lilies.
Miracles following the murder of a Christian boy by the Jews, III,
235, 237-40, 244 f., 247 f., 252; V, 241;
the desecration of the Host, III, 240, 242 n.
Miracles of the Virgin, II, 7 n., 8, 13, 16, 42; III, 52, 239 f.; V,
23 n.
Un Miracolo di tre Pellegrini, play, I, 238.
Miragaia, romance of Almeida-Garrett, V, 6.
Mittagsfrau, I, 484 a.
See Δαιμόνιον μεσημβρινόν, Noon-sprite.
Mitton, bailiff of Shrewsbury, knows no king but him that wears the
crown, III, 332 f.
Modi of Reynes, accepted suitor of Rymenhild, I, 189.
Modun, Moging, to marry Rimild, Riminild, Horn’s love, I, 191 f.
Money given by maid to lover with whom she is eloping, I, 183; II,
369, 371, 406 f., 410.
Monk, miller, without cares, I, 408 f.; II, 507.
Monmouth, Duke of, IV, 108-10.
Montrose, IV, 51-3, 55 n., 57, 77-9.
Moon, new, with old moon in her arm, sign of storm, II, 20-27, 29, 30.
Moradbak, l’histoire de, I, 11 n.
Moran (Murando), Piedmontese representative of young Beichan, I, 462.
Mordred, Arthur’s nephew, his death, V, 298 a.
Moringer, Der edle, I, 196, 459; V, 291 b.
Morris dance, III, 44 f.
Morte Arthur, II, 510 b.
Morte Darthur, Malory, I, 257 n.; IV, 456 a; V, 298 b, 298 a.
Morton, Earl of, III, 443, 445 f.
Möttuls saga, I, 258-60, 261 n.
Mourning, excessive.
See Tears.
Le Moyen de parvenir, III, 159.
Much (the Miller’s son), an original comrade of Robin Hood, III, 56,
59 f., 66, 70;
carries off the wounded Little John on his back, 71; 97, 99;
companion with Little John in killing the monk and the rescue of
Robin Hood, 98-100;
Midge, the Miller’s son, III, 197, 202, 204;
Much the Miller’s son, made one of the party that rescue John o the
Side, III, 478 f., 483.
La Mule sanz frain, fabliau, I, 417 n.
Der Müller ohne Sorgen, I, 409. See Miller.
Mummers’ play of St. George, V, 291.
Munday, A., his play of The Downfall of Robert Earl of Huntington,
III, 46, 129, 179, 519 b; V, 100;
his pageant Metropolis Coronata, V, 297 a.
Munday, A., and Chettle, H., play of The Death of Robert Earl of
Huntington, III, 129, 519 b.
Murder, compensation in money for, II, 297 f.;
disclosed by harp or fiddle made or furnished from parts of the
body, or by pipe made from bone, or from plant growing from the
body, I, 121-33, 135, 493-5; II, 498 b; III, 499 a; IV, 447-9;
V, 208 b, 286 a.
Murder, revenge for, II, 297 f., 300 f., 304-7.
Murdered boy appears immediately as bird and reveals that his brother
had killed him, I, 126.
Murdered man’s body will emit blood upon being touched or approached
by the murderer, II, 143.
Murray.
See under Family Names.
Murray, Bonny Earl of, murder of at Donibristle, III, 447-9, 456.
Murray, The Outlaw, ballad, V, 185 ff.
Murray, Regent, III, 400, 409, 417, 442, 447.
Murray, Morrow==Moor, black, V, 189 n.
Music, harp, pipe, flute, song, powerful effects of, on animate and
inanimate nature, II, 137;
soporific influence, I, 55; II, 137, 139 f., 511 f.; IV, 18-21; V,
220 b, 293 a;
music, seductive, horn, harp or song, I, 15-17; 25, 28 b, 31-5, 37
f., 44, 50, 55, 367, 485; IV, 441; V, 285.
Mužíčenko s Kulačenko, The little Peasant, Russian tale, V, 281.
Mythical interpretations of the story of Adam Bell, etc., and of
Robin Hood, III, 21, and n.; 47 f., and notes.
Myvyrian Archaiology of Wales, I, 265 n.; III, 498 a.
Mærþöll, Icelandic fairy tale, I, 392.
Naisi (Naois) and Deirdre, Gaelic story, III, 498 b.
Naked man, injured husband will not kill a, II, 245, 247-9, 251,
253-6, 258; IV, 477 f.
Naming, enfeebling or destructive effects of, on men engaged in
fight, on the devil, trolls, nixes, the horse Blak, a berserkr,
the avenging sword, enchantment, etc., I, 3, 5, 89-92, 95 f.,
489 b; III, 498 a; IV, 443 a; V, 207 b, 285 b.
Nashe, Thomas, III, 461.
Nasr-eddin Hodja, Les plaisanteries de, Turkish tale from, I, 410.
Neh-Manzer, ou Les Neuf Loges, Persian tale, I, 489 a.
Nereid, captured by resolute perseverance, despite changes of shape,
I, 337.
Nereids, Greek, likeness to northern elves and fairies, I, 314;
euphemistic titles for, _ib._, and n.;
special trees endanger taking by, for those who lie under them, I,
340.
Net, riddle of: if net has taken fish, lady has been unfaithful, I,
191 n.
Neville.
See under Family Names.
Newborn (unborn) children speak, III, 367, and n.; IV, 507 a.
Nibelungenlied, II, 143, 236.
Nicodemus, gospel of, I, 239, 240 n.
Nighean Righ fo Thuinn, The Daughter of King Underwaves, Gaelic tale,
I, 297 f.
El niño de Guardia, El santo niño de la Guardia, III, 241 b; IV,
497 a.
Nisami, his poem of The Seven Figures or Beauties, I, 417.
Nix killed by maid with a knife, I, 23 n.
No Song, no Supper, musical entertainment, by Prince Hoare, V, 96.
Noble, Hobie, ballad, IV, 1 ff.
Nonplussing:
fool wins princess by dumfounding her, I, 20, 418 a, 485 a; II, 507
b;
carlin foiled by boy getting the last word, I, 20; III, 496 a;
Fin by Harpkin, I, 21;
fause knicht (devil) by boy, I, 22, 485 b;
king’s son by Tsano d’Oymé, IV, 440 b.
Noon-sprite, German, I, 484 a;
Slavic, IV, 440 b.
See Δαιμόνιον μεσημβρινόν and Mittagsfrau.
North side of burial grounds for unbaptized children, II, 498.
Northumberland, the betrayal of the Earl of, III, 409, 411-14.
Norton, Christopher, III, 404 f.
The Nortons, their part in the Rising in the North, III, 403-6;
the father and two of the sons go to the Low Countries, 418;
the father and four sons said to accompany the Earl of Westmoreland
to Spain, 419, 421.
Number riddles or songs, I, 416, and n.
Numbers, favorite:--
Seven.
Seven years (service, absence, penance, etc.), I, 41, 69, 72 f.,
77, 189 f., 192, 194-6, 198, 202, 204-6, 211, 224 f., 229-32,
255, 285, 323 f., 342, 344-6, 350, 354, 366, 432, 462, 464 f.,
469 f., 473, 475, 477; II, 52, 138, 159, 162 f., 166, 207-9,
233, 283, 500; III, 23, 189, 371, 441, 504; IV, 287, 290 f.,
363, 366 f., 433, 454-6, 458, 461; V, 207, 212, 219;
seven brothers, I, 92, 94, 100-4, 107, 251, 433, 492; II, 158,
160-2, 165, 170, and n., 189, 201, 358 f., 361 f., 364, 366,
425; IV, 151, 468, 483; V, 224;
seven sisters, I, 69, 71 f., 74, 76, 80, 107 f., 314-16; II, 295,
311 f., 362, 364, 366; IV, 477, 483, 485; V, 207;
seven sons, I, 362 f., 365-7; II, 65-7, 69, 71 f., 74 f., 77 f.,
80, 159, 161; V, 41, 255;
seven (miscellaneous), I, 41, 68, 70, 72, 79, 91, 94, 111, 289,
312, 362, 364, 367, 371; II, 70, 72 f., 75, 77, 79, 82, 318,
365, 370, 467; III, 3, 6-11, 65, 67, 75, 77, 78, 92, 117, 422;
IV, 319, 363 f., 366, 368, 496; V, 108, 127, 158, 184, 214,
224, 240.
Twenty-four.
Four-and-twenty knights, ladies, ships etc., I, 68, 70, 330-2,
341, 343, 370; II, 86, 88, 97, 129, 132, 183, 194 f., 241, 291,
299, 312, 315, 357, 371; III, 216, 297-9, 352, 370, 433, 436;
IV, 84, 157, 221 f., 226-8, 239 f., 273, 284, 317, 323, 325-7,
368, 381 f., 458, 461, 470, 472, 478; V, 41, 111-13, 117-19,
127, 221, 276.
Thirty-three.
Thirty and three horses, years, etc., I, 58 f., 212, 284, 467,
470, 472, 475, 479; II, 90, 92, 93, 95, 399, 471, 497; III,
453, 464 f., 478; IV, 146, 148, 195 f., 199, 204, 207, 371,
373, 470, 498; V, 36, 122-4, 219.
The Nutbrown Maid, English romance, I, 112; II, 84.
Nuts (walnut, hazel-nut, almond), enclosing costumes, I, 260, and n.
Oath by thorn, II, 111, 154;
by oak, ash and thorn, II, 138;
by corn, II, 144, 149;
grass and corn, II, 151.
Occleve, Thomas, De Regimine Principum, V, 71 n.
Oetavian, metrical romance, II, 33 n., 41, 510.
Ode und de Slang, tale, I, 298.
Odin, I, 13, 67, 95, and nn., 283, 404 f.
Ogier le Danois, I, 239, 275, 319, 340; II, 50; V, 243 b, 290 a.
Ogilvie.
See under Family Names.
Oh ono chrio, burden and couplets, II, 430.
L’Oiseau bleu, tale, V, 40.
Ólafr Tryggvason tries masteries with Eindriði, Eindriði to be
baptized, if beaten; shoots a chessman from a boy’s head, III,
18.
Ólafs saga Helga, II, 127.
Olafs saga Tryggvasonar, III, 18, 19 n.
Olif, Oliva, Karlamagnus saga, accused of adultery, demands ordeal,
champion fights for her, II, 39 f.;
Óluvu kvæði, Färöe ballad on her story, and Spanish prose romance,
II, 40.
Olive, will not grow if planted by unchaste person, V, 289 a.
Oliver, I, 277 f.
Omens:
buttons leap from breast, flee from coat, II, 118, 121 (?), 308
(?), 327 f., 331; IV, 466;
heel, lap, came off shoe, III, 384, 386;
corks frae her heels did flee, III, 393;
horse stumbling, IV, 117, 120, 122; V, 254;
nosebleed, II, 118, 308; IV, 117-20, 122, 189, 466, 522 a;
rain upon setting out on a journey, IV, 122;
rings break from fingers, IV, 120;
burst, II, 324, 337; IV, 119, 122;
drop from fingers, II, 331; IV, 118, 122.
One shape by day, another by night, I, 290, and n., 291, 295; IV,
454 a, 495 a; V, 39 f., 289 b.
Ordeal by hot iron (carrying iron and walking on steel), II, 36;
walking over hot plough-shares and carrying hot irons, 38;
passing through fire in a waxed shift, or wearing a waxed shift
which is set on fire, 38 f.;
walking through blazing fire in simple shift, 40;
by water, 38, 40;
being thrown into a fire of thorns, 43 n.;
sea, fire and snake-house, II, 510 b;
battle, II, 34-40, 42 f., 45-8; IV, 371-3.
Orendel, II, 127; IV, 450 b, 463 b.
Orfeo and Heurodis, I, 216.
Orlandino of Folengo, I, 407.
Orlando Furioso, I, 265; II, 113.
Orlando Innamorato, I, 308.
Orpheus and Eurydice, romance and ballad of, I, 216 f.
Ortnit und die Wolfdietriche, IV, 463 b.
Örvar-Odds saga, II, 50 n.; IV, 479 b.
L’os qui chante, IV, 447 b; V, 208 b, 286 a.
Otterburn, Battle of, ballad, III, 289 ff.;
Froissart’s account of the battle, 289-92.
Outlaws (for venison), III, 22-30, 56, 73 f., 76-8;
seven score the regular number of a band, III, 53.
Ovid, Metamorphoses, I, 84, 99, 437.
Owain, knight, legend of St Patrick’s Purgatory, I, 306, 308.
Ox, slaughtered, comes to life, in attestation of the immortality
of a murdered Christian (Torsten), I, 505 b.
The Paddo, Scottish tale, V, 201.
Pair ride (go) a long distance and never speak, I, 41-4; III, 497
b; V, 207 a, 285 a. (In French, Italian, Spanish, Catalan,
Scandinavian, Slavic ballads, not English.)
Pal greive, false, I, 91 f., 95 n.
Palace of Pleasure, Painter’s, I, 269; V, 13, 29.
Palanus, L’histoire de, Comte de Lyon, from romance, II, 42.
Palmerin of England, I, 267; V, 31 n.
Pantschatantra, I, 270, 339 n., 402 n.; II, 499; V, 14, 107.
Paradise in modern Greek quite equivalent to Hades, I, 322 n.;
paradise or wonderland, maid lured away by promise of being taken
to one, I, 27, and n., 28, 41, 46, 49, 89 f., 112 (?), 178, 182
(st. 1), 487 a; II, 496 f.
Parcevals saga, I, 257 n.
Parents, etc., not to know of death of son, daughter, or of the
manner of it, I, 436-40, 442; II, 14, and n.; III, 381, 384 f.,
387-93, 395-8, 507 b; IV, 460, 508-10, 512 f.; V, 247.
Paria, Goethe’s, II, 502 a.
Parker, Martin, III, 227.
Parodies, II, 204; V, 287 a.
La Partie de Chasse de Henri IV, Collé, V, 75.
Parting, Epirot or Albanian custom of, for a long time after
betrothal or marrying, I, 502 b.
Partridge betrays the hiding-place of the Virgin, II, 8;
quail plays partridge’s part, swallow befriends the Virgin, II, 509
f.
Parts exchanged in different versions of stories, man for woman,
etc., I, 459; II, 349 f., 514 a; III, 516 b; IV, 186 a, b, 481
f.; V, 47, 213, 233 f., 296.
Passional, das alte, I, 242 n., 505 a.
Patrañuelo of Timoneda, I, 408.
Parzival, Wolfram von Eschenbach’s, I, 257 n.
Pauli’s Schimpf und Ernst, I, 407, 410; III, 53, 208; V, 13.
Pausanias, I, 84; III, 503.
Du Pauvre mercier, fabliau, III, 54.
A Peat carried to school by boy as a contribution to the firing,
I, 21 f.
Pecorone of Ser Giovanni Fiorentino, I, 392 f.
Pedlar and Robin Hood, III, 154; V, 240.
Pedlars and Robin Hood, III, 170.
Peele, George, his Edward I, III, 48 n., 54 n., 218, 257.
Peggie is over the sie with the souldier, a tune, V, 172.
Peitevin, the Jew, III, 237, and n.
Penances, singular, I, 224, =I=, =J=, 225, =K=, =L=, 230, 232; V, 212
a.
See Austerities.
Pepys, Samuel, his pleasure at hearing Barbara Allan, II, 276.
Perceforest, romance, I, 240 n., 268; V, 23 n.
Perceval le Gallois, I, 257 n., 261 n., 263, 265 n., 269; II, 51, 502
b, 510 b; III, 503 b, 508 a; IV, 454 a; V, 289 b;
Roman de Perceval, prose, I, 257 n.
See Parzival.
Percy.
See under Family Names.
Percy, Harry, gives Douglas and his host a draught of wine over
Newcastle walls after engaging to meet Douglas at Otterburn,
III, 296;
asked by his father to put off the battle in order that certain
gentlemen may see it, will not, 297;
his generous lament for the death of Douglas, 309, 312.
Percy’s, Thomas, treatment of his texts, his “old copies,” II, 49;
III, 461 f.
Peregrinus Compostellanus, Jesuitenkomödie, I, 238 n.
Der Peri, Siberian-Turkish tale, V, 46.
Perjuries, close grazing on, II, 35, and n., 108, 110, 158-65, 171;
IV, 465, 468; V, 48, 51 f., 56.
Peter Diemringer of Staufenberg, I, 372.
Peter the Great, Tsar, III, 382 f.
Petronelle and Alphonso, tale of Gower, I, 10.
Pfaffe Âmîs, I, 406.
Die Pfeiferin, Esthonian tale, I, 124 n.
Pheron, son of Sesostris, story of, in Herodotus, I, 271; V, 212 b.
Philemon and Baucis, I, 99.
Philiphaugh, Battle of, ballad, IV, 77 ff.
Pickelheringsspiel, V, 97.
Picken, Andrew, Traditionary Stories of Old Families, V, 207.
The Pilgrim to Compostella, Southey’s tale, I, 238.
Pinkie Cleuch, Battle of, III, 378.
Pipe, fiddle, made from tree growing out of murdered girl’s grave,
or from reeds from murdered boy’s grave, or from bone, bones
and skin, of murdered boy, reveals the murder, I, 121-33, 135,
493-5; II, 498 b; III, 499 a; IV, 447-9; V, 208 b.
Piping, young man obtains from the devil the power of making women
follow his, I, 47.
Pirie’s chair, the lowest seat o hell, I, 439, st. 31.
Pitto, _alias_ Carellus, II, 39.
Placability of the King in Adam Bell, the Gest of Robin Hood, and the
tale of Gamelyn, III, 22.
Plague in Scotland, IV, 76 f.
Plants from graves, I, 93, 94, 96-8, 101 f., 200, 379 n., 489 f.,
492, 496 b, 506 a; II, 104, 108, 111, 183, 185, 190 f., 198,
201 f., 205-8, 210-12, 219, 280, 285 f., 498 b; III, 498, 510
b, 515; IV, 443, 450 a, 465; V, 31, 207, 224, 226, 262, 285 f.,
293, 295 a;
plants from graves, or from dead, with inscriptions, I, 96 f., 99;
III, 239.
Pliny, Historia Naturalis, III, 503.
Pluck-buffet, III, 55, 75-7.
Plutarch, Septem Sapientum Convivium, I, 13;
Life of Numa, III, 496.
Poisoning, I, 153-65, 375, 498-501; II, 284-7, 499 a; III, 259, 261,
264, 499 b; IV, 427 f., 449 f., 498; V, 208 f., 242, 286 b, 295
a;
poisoning of young man by sweetheart, wife;
child by grandmother, stepmother, I, 152 f., 158-66, 498-501; IV,
449 f.; V, 209, 286 b;
son poisoned by mother on account of his marrying unacceptably, II,
284-7;
mother attempting to poison son’s wife, the pair exchange cups, and
son is poisoned, I, 155 f.; III, 499 b; V, 295 a;
mother poisons son’s wife, I, 156 f.;
poisoning of false lover by his former mistress, IV, 427 f.;
brother poisoned by sister to remove an obstacle to her passion,
Slavic and Lithuanian ballads, I, 156 b, 499 a; II, 499 a; III,
499 b; V, 286 b;
poisoning with snakes (“eels,” “small fishes”) as food or with
their virus in drink, I, 153-65, 498-501; III, 499 b; IV, 449
f.; V, 209;
with the venom of a toad, I, 154, 157;
poison grains in drink given by elves, I, 375.
Poludnitsa, Russian sprite, I, 14 n.
Ponthus of Galyce, The Noble History of, prose romance, III, 179.
Porter thirty years and three, I, 284, 465, 467, 470, 472, 475, 479;
porter or warden has his neck wrung, is run through, etc., III, 25,
95 n., 100, 480, 482;
Horn throws him over the bridge, I, 190.
Posing of princess by fool (who gets her in marriage), I, 20, 417 f.,
485 a; II, 507 b.
Potter, disguise as, assumed by Hereward, Wallace, Eustace, Robin
Hood, III, 109.
Du Povre mercier, fabliau, III, 54.
Precocity of body and mind in heroes and champions, II, 303, 305 f.,
513 b; III, 515 b; IV, 35 n., 80, 479 b; V, 226 a, 292 a, 295 a.
Le prêt miraculeusement remboursé, V, 297 a.
Prevarications of woman who is discovered to have been visited by a
lover (not a knight, but a maid; maid wears sword? not a sword,
but a bunch of keys, etc.); in tragic ballads, II, 157 f., 164,
512 a; III, 509 a; IV, 468 a;
in comic, V, 88-95, 303 f.
Priests, five hundred, say mass at Durham field and afterwards take
part in the fight, III, 286.
Primaleon, I, 269.
Primrose (a place), II, 212.
Prince, figuring as a menial, is successful in a thrice repeated
battle, tourney, race, task, after which he is in condition to
reveal his rank and history, V, 44-7.
Prince Calaf, Persian story, I, 417.
Prince Peter of Murom and his wife Fevronija, Russian legend, IV, 439
a.
Prince who invites an angel to his wedding, legend, V, 290 a.
La Princesse et sa Nourrice, Greek tale, I, 489.
Prior of St Mary abbey withstands the cruelty and greed of the abbot,
III, 60.
Prodigal son recommended by his father to hang himself; the rope
pulls down a concealed treasure; the prodigal reforms, V, 12
f., 19 f.;
prodigal son remembers a paper left by his father, or a key left by
his mother, by which he receives money, V, 15-18.
Propertius, II, 236 n., 502 a.
Protesilaus, I, 99.
Protevangelium of James, I, 271.
Proud porter, I, 284, 464, 465, 467, 470, 472, 474, 479, 481; II, 53,
369-71, 468, 475; V, 219.
Pseudo-Matthew’s Gospel, I, 271; II, 1, 7.
Pšezpolnica, the Wendish, I, 484 a.
Punishments (unusual):
rolling down a declivity in a spiked barrel, tun set with knives,
II, 343; IV, 30 n., 32;
dragging in a barrel stuck with nails, V, 48;
boiling in a caldron, boiling in oil or molten lead, throwing into
boiling oil, II, 321 n., 327; V, 230, 281;
half-hanging, quartering, seething in boiling lead, cutting joints
asunder, and burning, V, 53;
half-hanging and seething in boiling lead, 56.
Punker shoots a coin from his son’s head, III, 18.
Pushkin, verses from The Three Ravens pass for his, I, 253.
Queen asks the lives of Adam Bell, etc., of the king, III, 28;
her extravagant partiality for Cloudesly and his family, 30.
Queen of Fairy’s beauty destroyed (temporarily) by intercourse with
Thomas, I, 327.
Queen of Sheba’s hard questions, I, 404 n.
Queen releases the Laird of Logie from prison by a trick, III, 452
ff.; IV, 516; V, 300.
Queen’s Maries, III, 381, 382 n., 385 f., 388, 391-9; IV, 508-12; V,
246, 298 f.
Queens of England; of Scotland.
See under Kings.
Questions and tasks offset by other questions and requisitions, I, 6
ff., etc.
See Tasks.
Quintalin, in the saga of Samson the Fair, I, 50, 54, 259.
Rabssaldchal, King, and his minister’s daughter-in-law, I, 12.
Radloff, Proben der Volkslitteratur der türkischen Stämme
Süd-Siberiens, I, 10, 418, 486; II, 506 b; V, 46.
Rævens Arvegods, III, 499.
Ragnars saga loðbrókar, I, 9 n.
The Raid of the Reid Swyre, III, 317.
The Rainbow, name of a ship, V, 143.
Rájá Rasálu, story of, V, 33 f.
Rakshas, Indian, gives riddles, I, 14.
Ramiro, King of Leon, V, 4-6; ballad of, 6.
Ransom of woman refused by father, mother, etc., paid by husband, II,
346 f.; III, 516 a; IV, 481 a; V, 231 a;
paid by lover, II, 347-54; III, 516 b; IV, 481; V, 231-3;
parts reversed, man ransomed by true-love, II, 349 f., 514 a; III,
516 f.; IV, 481 f.; V, 233 f., 296;
variations on this theme, III, 516 f.; IV, 481 a;
woman will dress in gay colors upon death of blood-relations, in
black for husband, II, 347; V, 231;
maid imprecates curses on her relations, II, 348 b; IV, 481; V, 231
f.;
invokes blessings on lover, V, 231 f.;
ransom of five thousand, five hundred pound, ten thousand, one
thousand, five hundred crowns, contributed by bystanders for
a wife to save her husband’s life, IV, 127, 129-31, 133, 135,
137, 139.
Das Räthsel, tale of the Grimms, I, 417.
Räthselfragen, I, 2 n.
Räthsellieder, I, 1, 2.
Rauf Coilyear, rhymed tale, V, 69 n., 70 f., 74.
Ravnlil, false accuser of Gunild, II, 35.
Il re alla caccia, play of Goldoni, V, 75.
Li Reali di Francia, II, 68 n.; V, 284 a.
The Red Bull of Norroway, Scottish tale, I, 307 n., 461 n.
The Red Etin, Scottish tale, The Red Etin puts trying questions, I,
484 b; V, 201.
Red Rowan, III, 471, 474.
Der Reiger, rhymed tale, V, 23 n.
De la reine qui tua son séneschal, conte, I, 489.
Reinfrid von Braunschweig, I, 196, 459.
Der Reiter in Seiden, German tale, I, 47.
Rejuvenation of old woman by burning to bones and throwing bones into
tub of milk, I, 507 b.
Remi, Philippe de, Sire de Beaumanor, his romance of Jehan et Blonde
(Blonde of Oxford), I, 191 n.; V, 287 b.
Remorse, immediate, after a cruel deed, II, 242, 245 f., 252, 266,
271; V, 35, 37.
Renard le Contrefait, Old French romance, I, 263.
Renold, miller’s son, Reynolde, one of Robin Hood’s men, III, 54, 70.
Repetition in dialogue, I, 157; V, 286 b.
Rescue of Johnny More by gigantic uncles, IV, 398 f.
Reserve in duels of a peculiarly formidable sword, II, 35.
Reven og Bjönnen, Reven og Nils fiskar, I, 144 b.
Reviling, reproaching, scolding spirits and elves, I, 21, 485 a; II,
496 b, 509 a; IV, 440 b.
Revolving palace, I, 277.
Rhodes, house of the, III, 428, 433;
house of Rothes, V, 247 f.
Riccio, David, murder of, III, 399 ff.
Richard (Cœur de Lion), III, 220, 223, 227, 230;
the romance, I, 320 n.; II, 511 b, 513 a; III, 55.
Richarda, or Richardis, wife of the Emperor Charles III, her ordeal,
II, 38 f.
Richars li Biaus, romance, III, 508 a.
Rid Square, Song of the, V, 307 b.
Riddle-craft practised by preternatural beings:
the Devil, I, 4 f. (=C=, =D=), 14; V, 283;
Odin, Thor, Vafþrúðnir, Alvíss, berggeist, dragon, rusalka, vila,
rakshas, I, 13 f.;
baba-yaga, pšezpolnica, mittagsfrau, serpolnica, Red Etin, I, 484;
air-sprite, ogre, II, 495.
Riddles (songs, ballads and tales): I, 1-5, 9-11, 13 f., 404-23,
426-30, 484; II, 495, 506 f.; III, 496 a; IV, 439, 459 f.; V,
205, 216 f., 283 f., 291.
Riddles:
beautiful girl not to be had by any man who cannot puzzle her
father with a riddle, Gaelic tale, I, 417 b;
man wins wife by instructing her how to answer her mother’s
riddles, Lithuanian tale, I, 418 f.;
riddles at marriages of Russian peasants, I, 418.
Penalty for not guessing is life, I, 10, 14, 404-6; 409, 411, 413,
447; II, 495 b, 506 b; III, 496 a; IV, 439 a; V, 205 a, 291;
forfeit of kingdom, possessions, place, paying tribute, etc., I,
10-13, 404, 406-8, 410; IV, 459 b;
to be taken off by the Devil, I, 5, 205;
by rusalka, I, 14;
rewards to guessers, I, 407 b, 409 f., 416 n.; II, 495 a;
princess requires lovers to give her riddles, those who cannot
pose her to lose their heads, I, 417;
riddles to be guessed as condition of marriage, German, I, 1 f.,
484 a;
Slavic, I, 2 f., 484 a; II, 495 a; IV, 439 a;
Gaelic, I, 3;
riddles guessed win a husband, I, 1-5, 10, 13, 484 a; II, 495 a;
IV, 439 a;
win a wife, I, 416 f., 420-23, 426-30; IV, 439 a; V, 216 f.
Riddles in the Mahā-bhārata and Kathā-sarit-sāgara, II, 495.
Riddles (Chaldean), given by wise man to the gods, IV, 439.
The Ridere (Knight) of Riddles, West Highland Tale, I, 417.
Riding into hall, knights and others, II, 51, 54, 510 b; III, 508 a.
Right-hitting Brand, III, 43 b, n.; V, 297 a.
Rimild, Rimnild==Rymenhild, Horn’s love, I, 190 f.
Ring halved at parting by husband and wife (lovers), I, 194-8, 457
n., 470, 502 b, 503 a; V, 5;
such half-rings often dug up, I, 194 n.;
ring in betrothal, I, 199 a, n.; V, 287 b;
ring, or half-ring, thrown into a cup of wine drunk of by woman,
serves to identify husband or lover returned after long
absence, I, 190 f., 194-8, 200, 202-7, 502 b, 503 b; V, 5, 287
b;
halves of ring run together, join of themselves, I, 194 f., 198;
II, 66 n.; IV, 463 b;
ring-stories, similar (not noticed in detail), I, 503 a, 508 b; IV,
450 b;
ring, or arm bent into a ring, magical revelations made by looking
through, III, 411; V, 299 b;
bribing to secrecy with an arm-ring, II, 51, 54 (?).
Der Ring ehelicher Treue, German tale, I, 198.
Der Ritter Galmi mit der Hertzogin auss Britanien, play by Hans
Sachs, II, 42.
Ritter Galmien, vom, volksbuch, II, 42.
Der Ritter von Staufenberg, I, 372-4, 387; III, 52 n.; V, 290 b;
after a happy and prosperous connection with an elf, marries, and
dies within three days, I, 373 f.
Rizzio, David, murder of, III, 399 ff.
Roads to heaven, paradise, purgatory, hell, fairy-land (some or all)
pointed out by Fairy Queen to Thomas Rymer, I, 324 f., 328; IV,
454 f., 458.
See I, 359.
Rob Roy, ballad, IV, 243 ff.
Robber-ballads, klepht, Magyar, Russian, Italian, III, 49, IV, 497 a.
Robe and fee, chief-justice retained by, III, 52, 61 (sts. 93, 107).
Robert le Diablo, II, 303; III, 515 b; IV, 479 b.
Robert Earl of Huntington, Robin Hood represented as, in Munday’s
play of The Downfall of Robert Earl of Huntington, and in
Munday and Chettle’s play of The Death of Robert Earl of
Huntington, III, 46, and n., 519 b;
subsequently, in a pretended epitaph, III, 107, 226, 233, and in
late ballads, II, 413 f.; III, 204, 218, 227.
The author of The Birth, Breeding, etc., of Robin Hood knows
nothing of the Earl of Huntington, III, 214.
For The Downfall, etc., see III, 179; V, 100.
Robin and Marion, in French literature, III, 46.
Robin Hood:
his alleged noble extraction, III, 46, and n.;
as he appears in ballads, III, 42 f.;
historical theories about, 43;
his comrades, 43.
the ballads, dates and sorts, 42.
his band==7 score, III, 65 (185), 67, 75, 78;
100 bowmen, III, 41 n.;
300 yeomen, III, 180;
150 + 60 mentioned, III, 181;
kept 300 bowmen before his outlawry, then 100, III, 228.
beguiled and bled to death by the prioress of Kirkley, III, 78,
103, 105 f., or by a monk, friar, 226, 231.
Bishop of Ely routed by, III, 230.
his bower, III, 518 f.
builds an almshouse, III, 213;
eight almshouses, 230.
captures a bishop and takes a large sum from him, III, 192, 195;
makes him sing a mass, 192, 196, 199, 202, 204;
dance in his boots, 195.
his comrades, III, 43, and n; V, 297 a.
connection of his name with natural objects and archaic remains,
III, 46 f., and notes; IV, 496 f.
his courtesy, III, 56, 58, 67, 69 f. (270-80), 74 f. (376-85), 229
f., etc.
ecclesiastics of all descriptions his chief prey (as of Gamelyn),
III, 41 n., 51, 57, 67.
his epitaph, III, 107, 226, 233.
game, pageant, or the like, called Robynhode, III, 44, 518.
Gest of Robyn Hode, composition and argument of, III, 49 f.;
topography of, 50 f.
Golden Prize: forces two priests, who pretend to have not a penny,
to pray for money, and finds 500 pounds on them, III, 209.
how characterized in the older ballads, III, 43.
husbandmen and yeomen favored by him, III, 57, 69, 221, 230.
identified by J. Hunter as a porter in the king’s household under
Edward II, III, 55 f.
imitated by disorderly people, III, 41.
in danger from a bishop escapes to his band in the disguise of an
old woman, robs the bishop of five hundred pounds, and makes
him sing a mass, III, 192.
in the fifteenth century, III, 41; V, 240 a.
kills fifteen foresters when fifteen years old, III, 176.
kindness to the poor, III, 228 f.;
consideration for husbandmen, III, 57, 230.
Life of, in Sloane MS. 780, III, 46 b, n., 103, 121 b, n., 129,
173, 175.
loves no man so much as his king, III, 75.
marries Allen a Dale to his true-love in spite of the bishop, III,
173 f.
meets with his match, or is disgracefully worsted, ballads to this
effect, III, 110, 123-5, 130 f., 134, 137, 140, 145, 151 f.,
154, 156, 159, 165, 168, 171.
his name foisted into ballads which in no way belong to the cycle,
I, 109, 302, 306, 412 f., 415-17, 421, 423.
the name Robinhood occurs 1380-81, IV, 496.
outlawed, III, 46 n., 228.
pay of his men:
twenty marks a year and two suits of clothing, III, 64 (with
bounties, 75);
a noble every Sunday and a new suit every holy day, III, 126.
his piety and special devotion to the Virgin, III, 41 n., 51, 57,
59 f., 67 f., 93, 97 f.
plays, III, 41, and n., 44-6, 90 f., 108, 114 f., 122, 127 f., 134,
518 b;
plays or games of archery, IV, 496 b;
Robyn Hod and the Shryff off Nottyngham, III, 90 n.
the poor spared and befriended by, III, 41 n., 228.
Potter, Robin Hood and the, and Great Russian bylinas, IV, 497 a.
his profuseness, III, 69 f., 77, 228.
relieves an impoverished knight, III, 57-60;
will not take back a loan of £400, having been repaid by the
Virgin, but gives him 400 more overpaid by the monk of St Mary,
69 f.
rescues Will Stutly, III, 16.
respect for women:
would do no harm to any company in which there was a woman, III,
41 n., 57, 109, 228;
will not suffer Little John to burn Kirklees (though the prioress
has been his death), out of consideration for women, 105 f.
his spite against the clergy, reasons for it, III, 221, 228, 230.
stays with the king 15 months, sickens of the service, obtains
permission to make a pilgrimage to a chapel at Barnsdale,
remains in the greenwood 22 years, III, 77 f.
summoned by Queen Katherine to be of her side in a shooting-match
with the king’s archers;
wins for her, III, 198-204, 206;
is graciously treated, pardoned, by the king, 200, 204.
takes gold from the king’s harbingers and presents it to the queen,
III, 198, 200, 202.
theories assigning him an historical character, III, 43, 56 f.;
a mythical, III, 47 f.
turns fisherman, and takes a French ship, III, 211-13.
will not dine until he has some guest that can pay for
entertainment, III, 51, 56, 58, 66 f.
will not eat or drink till he has seen a friar who, Scadlock says,
will beat both John and Robin, III, 124.
will not take God (Jesus), Peter, Paul or John as security for a
loan, but accepts the Virgin immediately, III, 59.
will not take small sums, or a man’s spending-money, III, 58, 66,
75.
a tune, III, 145, 150 n.;
Bold Robin Hood, a tune, III, 198.
Robin Hood and the Fifteen Foresters, tune, III, 133 n.
Robin Hood and Little John, a comedy, III, 134.
Robin Hood’s bower, III, 518 f.
Robin Lyth, mistaken title of Ritson’s, III, 13.
Robin’s Tesment, I, 144 b;
Robin’s Last Will, The, V, 286 b.
Robyn Hode in Barnysdale stode, mock song in The Four Elements, III,
42 n.
Rögutaja’s wife, Esthonian saga, I, 124 n.
Der Rohrstengel, tale, I, 125.
Le Roi et le Fermier, play of Sédaine, V, 75.
Le Roi et le Meunier, translation of a play of Dodsley’s, V, 75.
Le Roi Hugon, by Nivelle de la Chaussée, I, 283.
Roig, the poet, I, 238.
Roister Doister, play by Nicholas Udall, III, 294.
Roland, of the twelve peers, I, 277.
Röndólfr, IV, 502 b.
Rookhope, foray into, III, 439 ff.
Rosamonde and Élie de Saint-Gille, story of, I, 458 n.
La Rose de Pimperlé, tale, IV, 447 b.
Rose, Sir James the, ballad, IV, 155 ff.
Les roseaux qui chantent, tales, III, 499 a; IV, 447 b; V, 208 b.
Rosemunda, Lombard queen of 6th century, relation of her story to
ballad of Donna Lombarda, etc., V, 286 b, 295 a.
Rosette, ugly lady in Gautier’s Conte dn Graal, V, 289 b.
Roswall and Lillian, A pleasant History of, V, 43-5;
tales resembling, 45-57, 280 f.
Rothes, house of, V, 247 f.;
house of the Rhodes, III, 433.
Rowan-tree: spot where rowan-tree chest stands not affected by
witchcraft, I, 83 f.
Rune preservative of chastity, II, 506 a;
sleep induced by runes (charm), I, 28, 48, 55, 391 f.;
will controlled by runes, I, 362.
Rusalka, Russian, gives riddles, I, 14; II, 495.
Rymenhild, daughter of King Ailmar of Westerness, beloved of Horn, I,
188-90.
Sacchetti, I, 406.
Sachs, Hans. See Hans Sachs.
Sad-der, Persian, II, 235.
Sadko, story of, in Russian popular epics, II, 15, 510 a; V, 220 a.
Sagas: Egils ok Ásmundar saga, IV, 443.
Flóamanna saga, II, 35 n.; V, 275.
Friðþjófs saga, II, 376.
Gríms saga loðinkinna, I, 292 f.
Gull-þóris saga, IV, 502 a.
Gunnlaugs saga ormstungu, II, 35 n.; V, 298 a.
Göngu-Hrólfs saga, I, 393; II, 127; IV, 459 a, 502.
Hálfs saga, I, 95; II, 15.
Heiðreks saga, V, 8.
Hemings þáttr, III, 17, 19 n.
Hervarar saga, I, 405; II, 50 n., 127.
Hjálmtérs ok Ölvers saga, I, 307, 315, 489 b.
Hrólfs saga kraka, I, 290 n., 297, 393, 489.
Hrómundar saga, I, 67, 95.
Karlamagnus saga, I, 275, and n.; II, 39 f.
Kristni saga, I, 96.
Mágus saga, I, 283 n.
Maríu saga, I, 98; III, 52 n., 240.
Möttuls saga, I, 258-60, 261 n.
Ólafs saga helga, II, 127.
Ólafs saga Tryggvasonar, III, 18, 19 n.
Parcevals saga, I, 257 n.
Ragnars saga loðbrókar, I, 9 n.
Samsons saga fagra, I, 50, 259.
Sturlaugs saga starfsama, II, 35 n.
Svarfdœlasaga, I, 96; II, 35 n.
Sörla þáttr, I, 94 n.
Þiðriks saga, I, 49, 94 n.; II, 35 n., 41; III, 16; V, 243 b.
Tristrams saga ok Ísondar, I, 98, 487.
Vemundar saga ok Vígaskútu, IV, 502 a.
Vilkina saga, III, 16.
Völsunga saga, I, 392; II, 127.
Örvar-Odds saga, II, 50 n; IV, 479 b.
Sage (or parsley) hides the Virgin from Herod, II, 8 n.
La Sage-femme et la Fée, tale, V, 215.
Saint Andrew, his legend, I, 14, and n., 484 b; II, 495 b, 507 a.
Saint Anne, I, 237; II, 379.
Saint Bartholomew, I, 14, and n.
Saint George, I, 487 n.; II, 509 a;
called Our Lady’s knight, III, 294, 297, 520 a; IV, 499; V, 244 b,
297 b.
Saint George play in Cheshire, V, 291.
Saint James, Pilgrims of, legend, I, 236-9;
miracles of, attributed to San Domingo, 238.
Saint Johannes Eleemosynarius, II, 235.
Saint Mary’s knot, III, 462 n., 465.
Saint Olof, Swedish legend of, I, 95.
Saint Oswald, IV, 463 b.
Saint Serf, I, 14 n.
Saint Stephen and Herod, I, 233 ff.
Saint Stephen, patron of horses, a stable-groom in Swedish ballads,
I, 235;
his feast a great Horse Day, I, 235 n.;
this a continuation of heathenism, 236.
Saint Stephen of Hungary and Saint Gunther, I, 239.
Saint Tryphine, Breton mystery, V, 292 a.
Saint Ulrich, Slovenian ballad, I, 14, and n.
Saint Vicelin, II, 235.
Saint William of Norwich, III, 241 a; V, 297 b.
Salman und Morolf, Solomon and Morolf, III, 122, 517; IV, 450, 463 b;
V, 3 f.
Salomon and Saturn, Anglo-Saxon, I, 2 n., 13 n.; II, 507 a.
Saltoun, Lord, and Auchanachie, ballad, IV, 347 ff.
Salve.
See Fairy salve.
Samaritan woman, story of, blended with traditions concerning Mary
Magdalen and with that of The Cruel Mother, I, 228-30, 232; II,
501 b; III, 502 b; IV, 451 b;
with that of The Cruel Mother, without the Magdalen (Slavic), I,
230 f.; III, 502 b; IV, 451 b; V, 288 a.
Samson the Fair, saga, I, 50, 259, and n.
Samson’s, Solomon’s, and Hiram’s riddles, I, 404.
San Domingo de la Calzada, Spanish legend, I, 238.
Sången om den Friköpta, Estlander’s discussion of, IV, 482 a; V, 231
a.
Sant Oswaldes Leben, IV, 463 b.
El santa niño de la Guardia, III, 241; IV, 497.
Santo Antonio e a Princeza, Portuguese legend, II, 513 a.
Santo Stefano di Calcinaia, twentieth story of, II, 498 b.
Sark.
See Shirt.
Saxo Grammaticus, I, 67, 94 n., 323; II, 14 f., 127; III, 16 f., 411
n.
Scala Celi, III, 54.
Scalachronica, I, 261, 317; II, 19 n.
Scathelock (in all copies of the Gest but a), Scadlock, Scarlok,
Scarlet, an original comrade of Robin Hood, and the most
prominent after Little John, III, 56 f., 59 f., 66, 70, 92, 99,
104, 124, 129;
originally Young Gamwell (nephew of Robin Hood), according to late
ballad, 146, 150;
kills one of three giants and marries a princess, 150;
finds his match, 169, 171;
identified in a life of Robin Hood with Allen a Dale, 173;
made the chief archer after Robin Hood, 197 n., 201.
Schimong, Chinese emperor, V, 226 a.
Eine schöne und liebliche History vom edlen und theuren Ritter
Galmien, II, 42.
Die Schönste, Greek tale, I, 313.
Schupp, Balthasar, I, 408.
Scogin, The Jests of, I, 128 n.; IV, 497 a.
Scolding, reproaching, reviling of sprites and elves, I, 21, 485 a;
II, 496 b, 509 a; IV, 440 b;
scolding or reviling will not be endured by the better sort of
these, I, 485; IV, 440 b.
Scolding woman too much for the devil, V, 107 f., 305 a.
La Scomessa, Italian tale, V, 97.
Scott.
See under Family Names.
Scott, Sir Walter (novels and poems), I, 210; II, 57, 227, 234, 512;
III, 43, 367 n.; IV, 25, 106, 210, 218, 239, 244 f., 450, 463
a; V, 72 n., 74, 160.
Scroop, Lord, of Bolton, Henry, Thomas, Warden of the West Marches,
III, 462, 469 f., 472-4; IV, 9.
Seals (Finns) capable of casting their skins and taking human shape,
II, 494; III, 518; IV, 495 a.
Sebilla, Sibilla, romances of, II, 40, and n.
Secrets revealed (sometimes after an oath of silence) to a stone,
stove, a doll, a gelding, I, 488 a; V, 48, and n., 51 f., 56.
Security: the Virgin as security for a loan, III, 51 f., 59 (62-6),
68 (249 f.);
God for security, III, 52 n., 53 f., 519 a; IV, 497 a.
Seductive music, horn, harp or song, I, 15-17, 25, 28 b, 31-5, 37 f.,
44, 50, 55, 485 b; IV, 441.
Seneca, III, 306.
Sénecé, Filer le parfait amour, I, 269.
Sercambi, Novelle di, V, 97.
Sermones Parati, V, 33.
Serpolnica, I, 484 b.
Service, fruitless, of seven years, for king’s daughter, I, 204-6,
255; V, 212 b.
Serving man aspiring to match with an earl’s daughter is strongly
backed by his noble master, II, 443-5, 448-50, 453.
Seton, Bonny John, ballad, IV, 51 ff.
The Seven Figures (or Beauties), Persian poem, I, 417.
Seven Sages, Seven Wise Masters, I, 392; II, 511 b.
Seyf El-Mulook, story of (Lane’s Thousand and One Nights), II, 511 b.
Seymour, Jane. See Jane, Queen.
Shakspere,
Cymbeline, V, 23 n.;
Hamlet, V, 201 n.;
Henry the Fourth, I, III, 44 n.; II, III, 129; IV, 36;
Henry the Sixth, III, II, 181;
King Lear, II, 240; V, 201;
Merry Wives, I, 322 n.; III, 129;
Much Ado, V, 201 n.;
Pericles, I, 416;
Richard the Third, II, 143;
Taming of the Shrew, V, 201;
Twelfth Night, IV, 507 a; V, 287 b.
Shape, one by day, another by night, I, 290, and n., 291, 295; IV,
454 a, 495 a; V, 39 f.
Sheath and knife signifying mother and child, I, 183 f., 186; V, 210.
Shee an Gannon, IV, 479 b.
Sheet, sark, smock (for the dead), one half cambric, the other needle
work, one side of beaten gold, the other needle work, one half
silk, the other cambric, I, 506; II, 358 f., 362, 366; IV, 471,
485.
The Shepherd and the King, broadside ballad, V, 73.
Shepherd’s daughter (pretended) persists in marrying a knight whom
the king has adjudged to her, II, 459-76;
makes him think her a beggar’s brat, carl’s daughter, 462-4, 466
f., 469-73, 476.
Sheriff and outlaws (especially the Sheriff of Nottingham and Robin
Hood), III, 26, 28, 57, 63-6, 70-3, 93 f., 97 f., 100 f.,
111-13, 117-19, 157, 180-7, 222-4.
Ship, in a bad storm, promised that gold shall be her hire if she
will behave well, gold nails for iron, IV, 379 f.; V, 276;
silver and gold bolts driven in for iron and oak wanting, IV, 381
f.;
leaking badly, silken cloath and canvass stuffed in to calk her,
II, 27;
wrapped round with feather beds and canvass, or canvass, and
pitched, II, 28; IV, 379-82; V, 276.
Ships, intelligent and talking, IV, 376-80; V, 275 f.;
race of, forty-five, fifty-three, twenty-one ships, and all wrecked
but one, IV, 378-82; V, 275 f.;
splendid ships, I, 72, 312, 474; II, 13, 30, 217 f.; III, 340; IV,
472; V, 285;
ships stopped or endangered; sinful parties, or other persons
determined by lot, being thrown into sea, or put out of the
ship, or confessing, or vowing offerings, or a captive being
released, the voyage proceeds, I, 244-6; II, 13-16, 510 a; IV,
452, 463 a; V, 220 a, 288 a, 292 a;
ship stopped by serpents till a holy man whose instruction they
desire shall be delivered to them; he throws himself in, the
ship moves on, II, 13 f. n.
Shirt, custom of maid’s making one for her betrothed, V, 284;
significance of a man’s making such a request, 284;
shirt demanded by Elfin Knight, I, 7; V, 284.
Shoes slacked to run, II, 115, 177, 257, 313, 379, 395; IV, 398;
cast off to run, II, 125, 212, 287.
Shooting from boy’s (man’s) head of apple, nut, chessman, coin, and
similar feats, III, 16-21.
Shooting under hand, III, 199, 202, 204.
Shoulder, looking over the left shoulder, I, 100 (twice), 103, 464,
490 (left collar-bane), 492; III, 259, 263 f., 339, 368 f.,
413, 465, 488; IV, 11, 13, 15, 17 f., 20, 52, 135, 445, 518-20.
(See V, 286 a.)
Shovell, Sir Cloudesley (“Shawfield”), V, 147.
Shrift saves a ship endangered by a storm, II, 15;
sinner thrown overboard to save a ship taken to heaven by the
Virgin for the shrift he has made, II, 16.
Shukasaptati, Seventy Tales of a Parrot, I, 11 n., 12 n., 13, 268 n.,
270, and n.; V, 289 a.
Sibilla, wife of Charles the Great, suspected of unfaithfulness,
various forms of the story, II, 40 f.
Siddhi-Kür, I, 402.
Side, Armstrongs of the, especially Jock o the Side, III, 475 ff.
Sidney’s admiration of the song of Percy and Douglas, III, 305.
Le sifflet enchanté, Le sifflet qui parle, tale, I, 493 b; II, 498
b; III, 499 a.
Sigrdrífumál, I, 392.
Sigurðarkviða Fáfnisbana, III, II, 127.
Simon, Simond, Peter, a noble gunner employed by Lord Howard against
Andrew Barton, III, 339, 341-5, 348-50; IV, 503, 505-7.
Simon the Foundling, Servian hero, V, 295 a.
Sinadab, story of, V, 12.
Der singende Knochen, tale, I, 125.
Das singende springende Löweneckerchen, tale, I, 307 n.
Sinkarib, Histoire de, et de ses deux Visirs, Persian tale, I, 11 n.
Sir Bevis of Hamptoun, romance, II, 499, 506, 513; III, 520;
the French romance, II, 511.
Sir Broninge, knight, I, 210.
Sir Eger, Sir Grahame, and Sir Gray-Steel, romance, I, 209.
Sir Eglamour of Artois, romance, I, 209; II, 511 a.
Sir Egrabell, I, 210.
Sir Gawayn and the Green Knight, romance, I, 257 n.
Sir Gowther, II, 303.
Sir Hugh, ballad of A. Cunningham, II, 260.
Sir Isumbras, romance, II, 513 a.
Sir James the Ross, A Historical Ballad, by Michael Bruce, IV, 156.
See Rose.
Sir Olaf (Oluf), and the elf, I, 374-8;
poisoned by the elf for inconstancy, 375;
is run through with a sword for refusing to consort with elves,
375;
is struck by elf to whom he has declined to plight himself (being
already betrothed) and dies in a day, 375 f.;
may choose between living with the elves and dying, 377.
Sir Orpheo, Orfeo, romance, I, 216, 340, 504 a; II, 128.
Sir Perceval, English romance, II, 51.
See Perceval.
Sir Ryalas, I, 212 f.
Sir Triamour, romance, II, 41; V, 176.
Sir Tristrem, romance, I, 67, 317, 487 a; II, 127.
Sisibe, wife of Sigmundr, falsely accused of adultery, II, 41.
Sister comes every Saturday to comb the head of a brother who has
been transformed into a worm, I, 315;
the same, by sister changed to a mackerel, 316.
Sister hunted to death by rival in love, V, 158.
Sisters (sister) killed or maltreated by robbers who turn out to be
their brothers, I, 171-7;
Russian ballad, II, 499 a.
Skelton, John, Against the Scottes, Chorus de Dis, IV, 499 a;
Colyn Cloute, V, 100;
perhaps author of a Robin Hood pageant, III, 519 b.
Skikkju Rímur, or Mantle Rhymes, Icelandic, I, 259, 261 n., 264 n.
Skuin over de groenelands heide, III, 502.
Slangen og den lille Pige, Danish tale, I, 307.
Slaughter in large numbers of relations of lady-love by lover:
six or seven brothers and father and other kinsmen, I, 89;
father, eleven brothers, seven brothers-in-law, 91;
father and six brothers, 92;
six brothers, 94 n.;
father and seven brothers, 101 f.;
six or seven brothers, II, 170, and n. (eighteen thousand
assailants, I, 91;
fourteen of father’s best men, I, 100, 108).
Sleep, induced by charms, runes, I, 28, 48, 55, 391 f.;
by runes written on sheets of a bed, 391;
by a letter inserted between sheet and coverlet, by an enchanted
feather, by runes written on cushions, 392;
by a soporific pillow, I, 393;
by sleep-thorns, -pins, I, 392 f.; III, 506; IV, 459;
by strewing broom-blossoms at a man’s head and feet (on his neck),
I, 394 f.;
by magic of some sort, V, 2;
by music, see Music.
Sleep: man in deep (unnatural) sleep cannot be roused by maid at a
critical moment; servant afterwards repeats to him what has
occurred, I, 307, and n.
Sleep you, wake you, the formula, II, 240, 513 a; III, 514 a; V, 201
b, 225 b.
Sleeping potion given to woman by lover to enable her to escape from
her husband, or lover to carry her off, V, 3 f., 6 f., 280;
sleeping potion taken by maid to enable her to escape to her lover,
II, 358 (and evidently intended in other copies of the ballad,
though not mentioned);
given by friendly hostess, to save girl’s honor, II, 356 b;
administered to a gallant who is to pass the night with a girl, I,
393; III, 506 b; IV, 459 b.
Sleeping under trees.
See Trees.
Sługobyl, Polish tale, V, 46 n.
Small-maids Land, I, 259.
The Smith and the Demon, Russian tale, I, 507.
Solfager, Suolfar, King David’s (Sir David’s) wife, Solfot, V, 7 f.,
280.
Solomon and his wife, tales of, V, 2-4, 279.
Solomon and Kitovras, V, 2.
Solomon and Morolf, III, 122, 517; IV, 450, 463 b; V, 3 f.
Solomon and his queen, Russian, Servian, and German tale, V, 2 f.
Solomon and Saturn. See Salomon and Saturn.
Solomon’s riddles, I, 404.
Sölvi, IV, 502 a.
Son of a king liberates a prisoner (prisoners) of his father; the
service is gratefully returned in a subsequent emergency, V,
43-57.
Song (Liedlein) von dreierlei Stimmen sung by one person, I, 34; V,
285 a.
Song of the false knight (Halewijn==elf-knight) excites longing, I,
25 ff., 485; V, 285.
Song in ballad repeated, I, 478; V, 16, 51 f., 214 f., 218 f.
Songs of the Ghilanis, Persian, II, 506 b.
Soporific effect of music, I, 55; II, 137, 139 f., 511 f.; IV, 18-21;
V, 220 b.
Sörla þáttr, I, 94 n.
Sörli, IV, 502 a.
Souling, song so called, V, 291 a.
Sovereignty, her will, is what a woman most desires, I, 290-295; V,
289 b.
Sovereignty of Erin, given by a disenchanted hag to her deliverer, V,
289 b.
Sower, Legend of the (miraculous harvest), II, 7-9, 509 f.; III, 507
b; IV, 462 b; V, 220 a.
Spectral or elvish knights, combats with, II, 56 f., 511 a; III, 508.
The Spectre Bridegroom, Cornish tale, V, 59, 64.
Spell to recall a (dead) lover: boiling a dead man’s head, bones,
carcass in a pot; burning a piece of the lover’s clothing, or a
cat, in a hot oven, V, 61.
Spencer, Hugh, his (ballad) feats in France, III, 275 ff.;
various historical Hugh Spensers, 276.
Spenser, Fairy Queen, I, 267.
Der Spiegel, of Meister Alswert, I, 267 n.
Ein Spiel von dem Freiheit, I, 2 n., 415.
Spiked barrel, punishment of rolling down a declivity or dragging in,
II, 343; IV, 30 n., 32; V, 48.
Ein Spil von einem Kaiser und eim Apt, farce, I, 407.
Spirits, or malignant uncanny beings, baffled, by scolding, or by
getting the last word, I, 20-22, 485; II, 496 b; III, 496 a;
IV, 440 b.
Spring, lady whose lover is absent is to look every day into; if she
sees his shadow, he is on the point of marrying another, I, 192.
Spring wells up where innocent maid’s head falls, I, 172.
Sprites, reviling or scolding of, an effectual way of baffling them,
I, 21, 485 a; II, 496 b;
will not be endured by the better sort of these, I, 485; IV, 440 b.
Spurningen, Norse tale, I, 418.
The Squire of Low Degree, romance, I, 255; II, 512 a; III, 501 a.
S. S., signature of No 150, III, 218 f.
Staffans-skede, diversion of Swedish boys at feast of St Stephen, I,
234 n.
Stanley.
See under Family Names.
Stephen and Herod, legend of, combined with legends of the infancy of
Jesus, I, 233.
Stephening, I, 234 n.; V, 291.
Stepmother (witch) transforms maid (generally) to hideous shape,
tree, serpent, fish, wolf, I, 178, 290-3, 297, 307, 309 f., 312
f.; II, 503-5; V, 214;
two maids, sisters, V, 214 f.;
maid and brother, I, 290 n., 296, 315 f., 336 f.;
two maids and brother, I, 306;
poisons child, I, 163-6; IV, 450 a; V, 209 a (see I, 154 f.).
Stev-stamme, I, 7 n.
Steven, Sir, I, 293, 295.
Steward, tutor or other servant, charged with the care of a young
prince, or man of rank, forces a change of clothes and relative
positions as a condition of drawing him up from a well into
which the young noble had been let down by the legs (or of not
drowning him in a river at which he was drinking), V, 44-7, 49,
54;
the same of a princess and her maid, 47.
Τὸ Στοίχημα, Romaic ballad, V, 21.
The Story of Conall Gulban, West Highland tale, III, 507.
Straparola, I, 401; II, 143; V, 46, 96.
Strawberry Castle, II, 118 f., 121, 286, 442, 447, 452; IV, 466 f.
Stripping of maid by pretended lover who has carried her off, I,
31-3, 39 f., 42 f., 50, 56 f., 59, 433, 486 b, 488; II, 496 b,
497; III, 496 f.; IV, 442.
Stuart.
See under Family Names.
Stumps, fighting on, after the legs had been shorn at the knee, and
fighting after other mutilations, III, 306, 310, 313; IV, 502;
V, 244, 298 a.
Sturlaugs saga, II, 35 n.
Stutely, Will, one of Robin Hood’s troop in later ballads, III, 135;
rescued by Robin Hood from hanging, 185.
Substitution of maid-servant (sister) for bride to conceal
unchastity, I, 64-8, 70, 73; III, 497 b;
substitution of maid-servant (niece) for mistress in cases of
wagers against the mistress’s virtue, V, 22-4, 27.
Subterfuges of woman questioned as to evidences of her misbehavior,
V, 88-95, 303-4 (comic); II, 157 f., 164, 512 a; III, 509 a;
IV, 468 a (serious).
Südäi Märgän, Siberian-Turkish tale, I, 486.
Suddene, kingdom of Murry, father of Horn, I, 188, 190.
Sulayman Bey and the Three Story-Tellers, V, 97.
Svarfdœlasaga, I, 96; II, 35 n.
Svend Bondes Spørgsmaal, V, 205.
The Swepstacke, The Sweepstakes, name of a ship, V, 133.
Swift, Tale of a Tub, II, 441.
Sword laid in bed between man and woman, II, 127, and n., 130, 135,
511; III, 509 a; V, 292 b;
reduced sportively to straw, II, 127 n.; III, 509 a; V, 292 b.
Sword, whetted on straw, grass, a stone, the ground, wiped or dried
on sleeve, grass, before using, II, 131, 139, 159, 161 f., 166,
169, 185, 243 f., 249, 256, 261, 266, 273, 305 f., 380, 390,
393, 396, 483, 492; IV, 491; V, 37, 226 f., 235.
Sword and ring laid before maid ‘to stick him wi the brand or wed him
wi the ring,’ II, 469; IV, 493; V, 28, 238.
Swords, Adelring, Sudevind, and others of superexcellent quality, II,
34, 35, and n., 50.
Swords, two in a scabbard, II, 133, 135, 245, 251, 256, 258; IV, 477.
Sworn brethren, IV, 146 f.
Syntipas, V, 13 f.
Table, drawing a, explained, V, 304 a.
Table jumped, kicked or thrown over, under the effect of exciting
events or information, table furniture broken to flinders or
hurled into fire, etc., I, 65, 217, 457 n., 465, 472, 475 f.,
481, 502 a, b; II, 35, 94, 127 f., 128 n., 132, 205, 271, 273,
312 f., 511 b; III, 509 a; IV, 316, 345, 462, 508; V, 219, 271,
287 b, 292 b.
In Slavic ballads, bride jumps over four tables (and knocks over a
fifth); husband, hearing news, jumps nine, I, 502 b; II, 511 b;
III, 509 a;
person jumps seven and touches the eighth, V, 287 b.
Tales cited without title:--
Albanian, V, 47.
Armenian (==King John and Bishop), IV, 459 b;
tale or ballad, I, 490 a.
Breton, III, 504 a, 506 b, 507 a.
Esthonian, I, 308.
Gypsy (Transylvanian, etc.), IV, 459 b; V, 60.
Lithuanian, II, 499 b, 511 a.
Magyar, IV, 459 b; V, 60, 216 a.
Romaic, I, 97, 337, 401, 437, 461 n.; II, 127, 511 a; V, 39.
Roumanian, I, 85, 401.
Slavic, I, 124 f., 308, 401 f., 417, 484 a, 499 b, 507, 513 a; III,
52 n., 513 b; IV, 439 b, 440 b, 459 b; V, 2 f., 6, 46 f., 60,
74, 107, 241, 279.
Talismans:
ring with stone which by change of color, or breaking, signifies
unfaithfulness of giver, I, 192, 201-7; II, 318 f.; V, 210 f.;
by rusting or dimming shows that giver is dead, I, 201;
ring which protects the wearer from all bodily harm, assures
superiority in fight, doubles strength, keeps from sickness and
captivity, I, 189, 190 f., 201 n.; V, 287 b;
gold-embroidered handkerchief, gold melting shows that giver is
dead, I, 201;
ring, sword, chain, which will stanch blood or prevent blood from
being drawn, II, 61, 318 f.; V, 183 f.;
the protective power of the ring conditional upon the wearer when
in danger thinking of his leman, I, 189;
with his keeping faith, 190 f.
Talking Bird, Singing Tree, and Yellow Water, Arabian tale, I, 311.
The Talking Dish, Chinese drama, I, 126.
Tam o Lin, Tom a Lin, Tammy Linn, etc., popular verses about, I,
340; III, 505 b.
Tarlton’s Jests, IV, 495 a.
Tarn Wadling.
See Tearne Wadling.
Tasks and problems, difficult or impossible, I, 7-13, 15-20, 418, 484
f.; II, 495 f.; III, 496 a; IV, 439 f.; V, 205 f.;
impossible tasks propounded by man as condition of love or
marriage, offset by others preliminary, equally difficult,
proposed by woman, I, 7 f., 15-19, 484 f.; II, 495 f.; III,
496 a; IV, 439 f.; V, 205 f., 284 (an Elphin knight gives the
tasks, I, 15-17;
an auld man, 18 f. (I), who represents the devil;
a dead lover, IV, 439 f., and the devil expressly, V, 283;
the maid would have been carried off had she failed). Similar
requisitions, not conditional to marriage, met in the same way,
I, 10, 13;
in Babylonian Talmud, V, 284;
similar performances, ostensibly undertaken, to show the absurdity
of a demand, I, 10, 11;
an assertion offset by another of the same extravagance, 13;
tasks in which no one of the only possible procedures is allowed,
I, 8 f., 418;
problems ingeniously solved, I, 12 f.;
tasks propounded by one king to another, king rescued from attack
or from a forfeit by the sagacity of his minister or minister’s
daughter, I, 11 f.;
wife won by doing riddling tasks, Siberian-Turkish tale, I, 418;
dead lover propounds tasks to his true-love; if she had not
“answered” well she must have gone away with him, IV, 439 f.
Taubenliebe, Albanian tale, I, 338.
Tausend und eine Nacht, I, 11 n., 12, 269; V, 13.
Tay, water of, I, 127, 129; II, 21, 24, 96, 314, 462, 465, 471; III,
271; IV, 98, 100, 143 f., 193.
Tchînavar, the bridge, II, 235.
Tearne Wadling, I, 294.
Tears destroy the peace of the dead, II, 228, 234-7, 512 f.; III, 513
b; IV, 474 b; V, 62, 294.
Tegau Eurvron, wife of Caradawc Vreichvras, I, 265.
Teind (teene), tribute: teind taken of fairies by the fiend at stated
periods, I, 328, 339, 342, 344-6, 350, 353; III, 505 a; IV,
456, 458; V, 215 b.
Telfer, Jamie, ballad, IV, 4 ff.
Tell, William, III, 16 f., 18 n.; IV, 496 b;
his apple-shot, III, 13, 21 n.;
his name, 19 n., 21 n.
Tennis-balls in the ballad of Henry V, authorities, III, 321 f.;
parallel in Pseudo-Callisthenes, 322.
Testament, oral, or last wishes, of dying person, will good things
to friends and ill things to the author of death, I, 143-50,
153-6, 158-60, 162 f., 166, 496-501; II, 498 b; III, 499; IV,
449; V, 208 f.;
without animosity to author of death, I, 144, 156;
other testaments, where there is no occasion for animosity, I, 144,
496 b; V, 291 b;
parodies of these testaments, I, 144 b; III, 499 b; V, 208 b, 286;
bequest of sorrow to wife and children and a curse to mother by a
man who had been instigated by her to kill brother or father,
I, 169 f.
Testament of fox, robin, ass, dog, etc., I, 144 b; V, 208 b, 286.
Tests (molten lead or gold, burning with red-hot iron, cutting off
little finger, etc.) to determine the reality of a woman’s
apparent death, II, 359, 361, 364-7; III, 517 b; IV, 485; V, 3,
6;
other tests, III, 517 b.
See Chastity.
Thales solves riddles, I, 13 n.
Thedel von Walmoden, poem and tale, I, 199 n.
Ther wer three ravns, a tune, IV, 126 n., 454.
Thetis, Proteus and Nereus made submissive by maintaining a firm hold
through their various transformations, I, 337, 338 n.
Thévenot, I, 240.
Thirty pieces for which Jesus was sold, legends concerning, I, 243 f.;
history of, before birth of Jesus, 243.
Þiðriks saga, I, 49, 94 n.; II, 35 n., 41; III, 16; V, 243 b.
Thom of Lyn, a dance, I, 336.
Thomas, Gospel of, II, 7.
Thomas Cantipratensis, Bonum Universale, II, 235, 513 a.
Thomas of Erceldoune, Thomas the Rhymer, I, 317-19, 321 f., 335, 340;
his prophecies, 317;
Thomas of Erceldoune and Ogier le Danois, 319, and n., 320 n., 340;
V, 290 a.
Thor, I, 283 n., 419;
Thor’s Hammer, I, 298.
Thor, Tor, Herr, see Tor.
Thorkill, his voyage, and visit to Guthmund, I, 323; II, 14;
his ships stopped till three men are delivered to expiate an
offence committed, II, 14 f.
Das Thränenkrüglein, tale, II, 512.
Three cries allowed a maid about to be murdered, I, 32, 37, 39, 41
f., 47, 487 b; V, 207, 285 a.
Three horses, successively ridden in an emergency, of which the first
two give out, the third holds out, II, 116 f., 120 f., 309 n.,
313; V, 228, 262 (all three burst, II, 212).
Three hundred and sixty-five children at one birth, as punishment for
slandering a woman who had borne twins, II, 67 f., n.; IV, 463
b.
The Three Ladies of Leithan Ha’, ballad of Cunningham, I, 142.
The Three Questions, a drollery, I, 418.
Þrymskviða, I, 298.
Thurston, Irish king, takes Horn into his service, offers Horn
Reynild, his daughter, I, 189.
Thyme song, V, 258.
Tibullus, II, 236 n.
Time, illusion as to duration of, I, 321, and n., 328; V, 290 a.
Tiran le Blanc, romance, I, 308.
Titurel, Der jüngere, I, 98, 267.
Der todte Schuldner, tale, III, 501.
Das Todtebeindli, tale, I, 125.
Toilets, women’s, in ballads, I, 31, 54, and n.; II, 183-6, 188-91;
IV, 312 f., 316 f.; V, 301 b.
Tokens sent a lady to legitimate a messenger:
mantle and ring, II, 265;
glove and ring, 266;
gloves, ring, mantle, 267;
mantle, sark of silk (sleeve sewed by her), 268 f.;
mantle, smock (sleeve sewed by her), 270;
mantle, silken sark (sleeve sewed by her), 272;
sark, shirt, shift of silk, (with sewing by her), 379, 384 f., 389,
391, 395; IV, 488 f.;
shirt from lady to man, II, 394; IV, 491.
As to shirts as tokens, see V, 284.
Tokens to identify man claiming to be husband or lover, or woman
claiming to be true-love, II, 215 f., 218-20, 222-5; III, 510
f.; IV, 473; V, 225;
demanded by mother of woman professing to be her daughter, V, 65 n.
Tokens sent keeper of a prisoner as warrants of king’s authority,
king’s comb, queen’s knife, III, 452 (IV, 515);
king’s glove, with his hand-writing, III, 455; V, 300.
Toko’s apple-shot, III, 16.
Tollet’s painted window, III, 45.
Tom Hickathrift, V, 226.
To-names among the border clansmen, III, 461 n.
Top-castles in ships, III, 337 n., 340, 344, 349; IV, 504.
Tor, Thor, representative of Horn in a Danish ballad, I, 193;
rival, 193 f.
Torello, Messer, in Boccaccio’s tale, I, 197 f., 459.
Torrent of Portugal, romance, II, 510 b; V, 297 b.
La Tourandot, play by Carlo Gozzi, I, 417.
Towie, Castle or House, burning of, III, 424 f., 427 f.
T. R., signature of No 122, =B a=, III, 116;
of two copies of No 133, III, 156;
of No 169, =B a=, III, 371 (the last an absurd pretension).
Transformations:
maid transforms herself (or threatens to transform herself) into
various shapes to escape the pursuit of a lover, who matches
her at every step and finally prevails, I, 399-401, 402 f.; II,
506 b; III, 506 b; IV, 459 b; V, 216 a, 290 f.;
youth and maid (youth) pursued by sorcerer transform themselves
variously, and finally escape apprehension, I, 401 b; III, 506
f.; IV, 459 b;
apprentice to a sorcerer, or fiend, pursued by his master,
transforms himself variously and at last takes on a stronger
shape and destroys his adversary, I, 401 f.; III, 507 a; IV,
459 b; V, 290 f.
Transformations, after extraordinary concessions, of hideous woman,
into a beautiful lady, I, 289-93, 295-9, 507 a; II, 502 b; IV,
454 a; V, 289 b;
of ugly old man to beautiful youth, V, 213.
Transformations of step-children (generally to hideous and formidable
shapes, to tree, serpent, fish, wolf) by malicious stepmother,
I, 178, 290-3, 296 f., 306 f., 309 f., 312 f., 315 f.; II,
503-5; V, 214 f.;
linden-worm, snake, admitted to maid’s bed turns into a king’s son,
I, 298; II, 502 b; IV, 454 a;
other similar cases, V, 289 b;
witch transforms young man who refuses to be her leman into an ugly
worm, I, 315.
Transformations, successive, of Tam Lin by fairies to prevent his
disenchantment, I, 342, 344-9, 352 f., 355, 508; III, 505; IV,
457;
successive transformations of young girl, apparently of the same
nature, I, 336 f.;
of nereid to avoid union with man, I, 337;
of Thetis, Proteus, Nereus to avoid doing man’s will, I, 337, 338
n.
Transformations:
disenchantment by a kiss, three times given (mostly) to a repulsive
or formidable creature, or by the same, or by touching such, I,
307-11, 313, 338 n.; II, 502 b (partly), 504 f.; III, 504 a;
IV, 454 a; V, 214, 290 a;
Queen of fairies restores young man who has been transformed into a
worm by stroking him three times on her knee, I, 315;
see also Transformations, 2d and 3d paragraphs, above.
Transformations from and to human shape require immersion in milk or
water, I, 308, 338, and n., 339 n., 342,344; II, 505 b; III,
505 b; V, 39 f. (Cf. holy water, I, 346, 351.)
Traugemundslied, I, 2 n.
I tre Indovinelli, Turandot tale, I, 417 n.
Trees, special, dangerous to lie under, on account of taking by
fairies, I, 216, 340, 350; II, 505 b; III, 505 b; IV, 455 f.;
V, 290.
Des Tresces, fabliau, V, 22 n.
Le Trésor et les deux Hommes, La Fontaine, V, 13.
Trespassing in a wood: pretence that a maid has been doing this, I,
41, 341, 343, 345 f., 349, 360, 367, 369, 450-3; III, 504; IV,
456 f. (a commonplace).
Die treue Frau, tale, I, 268.
Tristan, Sir Tristrem, I, 67, 98, 198 n., 264, 265 n., 284, 317, 487
a; II, 127; V, 33.
Tristan le Léonois, II, 510 a.
Tristrams saga ok Ísondar, I, 98, 487.
Les trois Frères, tale==Le Sifflet qui parle, I, 493.
Troth asked back by lover of true-love before he is put to death, II,
178;
given back to dying man by maid, V, 168;
asked back by dead lover, II, 227, 229-33.
(The process, straking on a wand, II, 230;
touching three times on the breast with a silver key, 232;
smoothing her hand on his heart, 233;
striking on the heart with a white wand, V, 168.)
Troth asked back by dead father of son, II, 512 b.
True Thomas, I, 323 f., 326, 508; IV, 455-7.
Truls och hans barn, Swedish tales (==No 14), I, 501 b.
Tsar and deserter, Russian tale, V, 74 f.
Turandot, I, 417, and n., German schwank, 418; V, 291 a.
Des Turcken Vassnachtspiel, I, 437.
The Turke and Gowin, I, 289 n.; II, 505; III, 55.
Turpin, Archbishop, I, 277.
Tutbury, bull-running at, III, 214, 217.
Tuti-nameh, Tútí Náma, I, 268; V, 100 f.
The Two Fair Sisters, ballad of Cunningham’s, I, 119 n.
Two mares, story of the, I, 11 n., 12; V, 284.
Tweed, water of, I, 129, 131, 134-6; III, 308, 311; IV, 103.
Twins an indication of incontinence in the mother, II, 67, and n.,
511 a.
Tyne, water of, II, 464, 314; III, 299, 477, 480-3.
Udivitel’nyj Mužiček, The wonderful Peasant, Russian tale, V, 281.
Unco knicht==Devil, I, 5; cf. V, 283.
Unearthly beings, peril of intercourse with them, I, 322-5, 327 f.;
II, 505; IV, 455, 458.
Unequal marriages, II, 441-55; IV, 172 f., 522; V, 255; IV, 292-9, V,
270; IV, 403-8; V, 277 f.
Unnatural connection, I, 185 f., 444-54; III, 500 f.; IV, 450; V, 210.
Vafþrúðnismál, I, 13, 283 n., 404.
Valerius Maximus, III, 503.
Van den verwenden Keyser, Jan van Hollant, tale, I, 408 n.
The Varietie, comedy by the Duke of Newcastle, II, 243; III, 176.
Das Vasnachtspil mit der Kron, a farce, I, 266.
Vega, Luis de la, I, 238, 239 n.
Vemundar saga ok Vígaskútu, IV, 502 a.
Der verkêrte Wirt, rhymed tale, V, 23 n.
Die verwünschte Prinzessin, German tale, I, 13.
Vesle Aase Gaasepige, Norwegian tale, I, 66, 268.
Il Viaggio di Carlo Magno in Ispagna, I, 275 n.
Vidushaka, story of, I, 200.
Die vierzig Veziere, The Forty Vezirs, Turkish tales, I, 402; V,
13, 97.
Vigoleis with the Gold Wheel, Danish romance, I, 269 n.
Vila, Servian, gives riddles, I, 14.
Vincent of Beauvais, Speculum Historiale, I, 229, 237; II, 13; III,
52 n.;
Speculum Morale, I, 405 f.;
Speculum Naturale, I, 339 n.
Virgil, Æneid, III, 306;
Eclogues, I, 415 n., 437 a.
Virgil, the philosopher, I, 267, 270, 392; II, 502.
Virgilius, English story, II, 502.
The Virgin as security for a loan, III, 51 f., 59 (62-6), 68 (249
f.);
the Virgin finds mint, broom, chick-pea unfriendly (as to
concealing her) during the flight into Egypt; sage, parsley,
juniper, friendly; the swallow is friendly, the partridge,
quail, beetle, hawk are unfriendly, II, 8 n., 509 f.; III, 507
b.
Les Visions d’Oger le Dannoys au royaulme de Fairie, I, 319 n.; V,
290 a.
Der Vogelritter, tale, V, 39 n.
Volch. See Vol’ga.
Le Voleur des Crêpes, French-Breton tale, III, 497 a.
Vol’ga, Volch, in Russian bylinas, V, 295 a.
Völsunga saga, I, 392; II, 127.
Völuspá, I, 21.
Vom schlauen Mädchen, Lithuanian tale, I, 10.
Vom singenden Dudelsack, Sicilian tale, I, 125.
Vom weissen und vom rothen Kaiser, Wallachian tale, I, 11 n.
Vom weissen Wolf, Lithuanian tale, I, 307 n.
Vom wilden Manne, Bohemian tale, V, 46.
Von dem Brembergers End und Tod, German meisterleid, V, 32.
Von dem König von Spanien und seiner Frau, German story, I, 268.
Von dem Mädchen das an Weisheit den Kaiser übertraf, Servian tale,
I, 9.
Von einem Edelman welcher einem Abt drey Fragen aufgegeben, 1594,
comedy, I, 408.
Von zwein Kaufmannen, rhymed tale by Konrad von Würzburg, V, 23.
Vows of the Heron, V, 292 b.
Wade, Weland, and Mimir Smith, I, 401 n.
Wager, to win a woman’s favor, of a man’s lands against her brother’s
head, IV, 383-6; V, 276 f.;
wager of his head by a squire against a knight’s lands that the
squire will win the knight’s wife, V, 25-8;
wager against a woman’s preserving her chastity (or dignity of
character), strong evidence against the woman, she vindicates
herself, V, 21-5.
Wager’s comedy, The Longer thou livest the more fool thou art, I,
340, 390.
Waldis, Esopus, I, 407; III, 208.
Wallace, Sir William, III, 43, 109, 211, 266-74; V, 242 f.;
distinguishes himself on the sea, III, 266;
aye a woman’s friend, III, 273;
disguises himself as a woman, III, 273 f.;
as a beggar, 271, 273;
Blind Harry’s Wallace, II, 265 f.
Walls and mouseholes, man who had killed twelve maids would be able
to pass through, I, 34 n.
Walric the Heron, comrade of Hereward, III, 179.
Walter of Aquitaine, I, 95 n.; 106 f., and n., 493 a;
his worn-out charger, II, 441, 444 f., 450, 454; III, 276 f.; V,
243 b.
Waltharius (Walter of Aquitaine), I, 94, and n., 95 n., 106 f.
Waly waly, gin love be bonny, song, IV, 92 f.
Wamphray, Lads of, ballad, III, 458 ff.
Wand, silver, cast up by Northumberland as he sails away from Loch
Leven, III, 413;
wand with lavrocks sitting, singing thereon, I, 201 f., 205, 503,
as a present.
See Artificial curiosities.
Wand, straking troth on.
See Troth.
Wariston, Laird of, murder, IV, 28 ff.
Was ist das Schönste, Stärkste und Reichste? tale, I, 9.
Water:
lady forced to wade, steps in to the knee, the middle, the chin, I,
55 f.;
forced to swim (on horse), I, 112, 114;
woman (pregnant) follows knight (who is on horseback) through deep
water, swimming or wading, II, 86, 88-90, 92, 94-7, 99, 459,
461 f., 464-6, 468, 471, 474 f., 476; III, 508 b; IV, 493; V,
221, 237;
goes into the Clyde to rescue drowned lover, IV, 190;
water comes to knee, middle, pap (neck), II, 88-90;
knee, pap, II, 94, 97;
ankle, knee, chin, II, 96; IV, 190.
Wax child to deceive woman who is delaying parturition, I, 82, 84,
86.
Ways, subterranean, to heaven, paradise, elfland, purgatory and hell
(some or all), I, 324 f., 328, 359; IV, 454 f., 458.
Wearie’s Well, I, 55 f.
Webster, John, Dutchess of Malfi, IV, 117.
Wedding at kirk-door, II, 131.
Wedding procession:
bride insists on having four-and-twenty men before her, twenty
(four-and-twenty?) on each side, and four-and-twenty milk-white
doves to fly above her head, II, 132;
bride is promised four-and-twenty men to ride between her and
the wind, four-and-twenty maids between her and the sun,
four-and-twenty milk-white geese to blow the dust off the high
way with their wings, II, 315;
Fair Annie going to her lover’s wedding has four-and-twenty knights
by her side and four-and-twenty maids, as if she had been a
bride, II, 183;
followed in some copies by four-and-twenty milk-white swans to blow
the dust off the highway, II, 195 a;
four-and-twenty gray goss-hawks to flaff the stour from the road,
four-and-twenty milk-white doves flying above her head and
four-and-twenty milk-white swans her out the gate to lead, IV,
470.
The Weddynge of Sir Gawen and Dame Ragnell, romance, I, 289 n., 291
n., 298, 301, 315.
Wee man throws a huge stone a long way, I, 330-2, 334.
Der weise Mann, Armenian tale of the King John and the Bishop type,
V, 291.
Der weise Mann und seine drei Söhne (Tausend and eine Nacht), V, 13.
Der weisse, der rothe, und der schwarze Hahn, V, 294 a.
Well: prince let down into a well by servant, who will not draw him
up unless he consents to exchange positions, V, 45-7, 281.
Wells, at Carterhaugh, I, 341, 343, 347 (Lady well); IV, 457;
Richard’s well, II, 148, 150;
St Anton’s, Anthony’s well, IV, 93, 105;
St Evron’s well, I, 146;
St Johnston’s wall, II, 21;
Usher’s well, II, 238;
Wall o Stream, wells of Slane, I, 387 f.;
Wearie’s well, 55;
Well o Spa (Aberdeen), IV, 286.
Werewolves, III, 498 a.
Wernhart von Strättlingen, Swiss tale, I, 197; II, 499 b.
Westerness, Kingdom of Ailmar, father of Rymenhild, I, 188.
Westmoreland, Earl of, Charles Neville, III, 417;
takes refuge in Scotland, but, finding himself unsafe, goes to sea
to seek his fortune, 419;
encounters Don John of Austria, and is taken by him to Seville; the
queen makes him captain over forty thousand, to war against the
heathen soldan, 421;
fights with the soldan and strikes off his head; the queen offers
to marry him, but he informs her that he has a wife; she has
him written down for a hundred pound a day, 422 f.
Whale swallows the Magdalen, V, 288 a.
What women love best, or most desire, Arthur or other to say
rightly, or suffer, I, 289, 291, 292, 293 f.
When? answers indicating never: when crows are white, swans are
black, stones float, etc., I, 168, 437, 441-3, 448 f.; II, 507
b; III, 499 b; 507 b; IV, 94-6, 98-103; V, 173 f., 218.
White willow wand on the mast sign of a merchant vessel, III, 340,
344, 349; IV, 504.
White Ladies (German), I, 336, 338 n.
The Whole Prophecie (of Merlin, Thomas Rymer, etc.), I, 317.
The Widow’s Son, Gaelic tale, III, 506.
Wie drey lantzknecht vmb ein zerung batten, tale in Pauli, III, 208.
Wife evades the inquiries of her jealous husband by explaining away
suspicious circumstances, V, 88 ff., 281, 303 f.
Wife pays 10,000 crowns to save her husband from the consequences of
an amour, IV, 356-8.
The Wife lapped in Morrel’s skin, V, 105.
Wife wrapped a sheep’s skin, etc., and beaten, V, 104 ff., 304 f.
Wigalois, romance, I, 257 n., 269 n.; III, 515 b.
Wigamur, romance, I, 269.
Wikel==Fikenild, Horn’s false friend, I, 192.
Wilkina saga, III, 16.
Will, her, (sovereignty) is what a woman most desires, I, 290-2, 295,
299; V, 289 b.
William and Margaret, an Old Ballad, David Mallet, II, 200; V, 294 a.
William of Malmesbury, II, 37; V, 298 a.
William of Orange, his gab and its performance, I, 277 f.
Willoughby, Hugh, a comrade of Hugh Spencer, III, 279 f.
Wine called for by girl about to be executed, to drink to her
well-wishers and they to drink for her, III, 384 f. (cf. 388,
19, 20, 391, 13).
Wisákhá, the history of, I, 11 n.
The Wise Heykar, I, 12.
Wit-combats with little or no story, I, 2 n., 7, 8, 13; III, 496 a;
IV, 439.
Witch can twist a rope out of flying sand, lay sun and moon flat on
the earth, turn the whole world round about, twine a string out
of running water, I, 83;
witch offers gifts to persuade young man to be her leman, I, 314.
Witch of Berkeley, V, 298 a.
Witchcraft imputed to noble ladies in Scotland in the 16th century,
III, 410 f.;
professed by Lady Douglas of Loch Leven, 412.
Witches blow horns, I, 314 f.
De witte Swâne, tale, III, 501.
The wolf in England and Scotland, I, 434; III, 2, 4 f.; IV, 495 b.
Wolfdietrich, I, 182, 196, 201 n.; II, 127; III, 507 a, 515 b.
Woman irregularly wived discovered to be the sister of the bride of
an attempted union, II, 66-70, 72 f., 75-7, 79, 82; IV, 463 b;
V, 220 b;
woman (leman, waif woman) who expects to be discarded wishes her
seven sons were seven rats, and she a cat, or seven hares and
she a hound, and she would worry them all, II, 70 f., 75, 79,
81 (corruptions, 73, 77);
so of woman who has borne seven bairns to a man living in a wood
(hill-man), I, 371.
Woman offers to fight for man, IV, 433, 444 f.
Women have long hair and short wits, I, 200 n.
Women, jury of, IV, 13 (3).
Wonderland or paradise, I, 27, and n., 28, 41, 46, 49, 89 f., 112
(?), 178, 182 (st. 1), 487 a; II, 496 f.
Wood to come to see one king put another to death (cf. Birnam wood),
V, 3.
Woodcock, beware thine eye, proverb, III, 199, 201.
Wooing of Etain, Irish tale, its correspondences with Sir Orfeo, II,
500.
Wrennok, III, 13.
Wrestling-match: prize, ram, ram and ring, III, 52;
bull, horse, gloves, ring and pipe of wine, III, 63.
The Wright’s Chaste Wife, English rhymed tale, I, 268; V, 100.
Wulric the Heron, comrade of Hereward, III, 179.
Wuthering Heights, V, 203.
The Wyfe lapped in Morrelles skin, rhymed tale, V, 104.
Wyssenhere, Michel, poem on the Duke of Brunswick, I 195.
Yâjnavalkya’s Law-book, II, 235.
Yarrow, I, 246; IV, 160 ff., 178 ff.
Ympë tree, I, 178, 216, 340; II, 505 b; V, 290.
See Apple-tree; Trees, special.
Yorkshire dialect in an American ballad, V, 296 a.
Young Beichan: relations of his story to those of Henry and Reinfrit
of Brunswick, the good Gerhard, Messer Torello, etc., I, 459.
Young Beichan and Hind Horn, parts of the principal actors in one
inverted in the other, I, 455.
Young Thomlin, an air, I, 336.
Ywaine and Gawin, romance, I, 306.
Zeyn Alasnam, Arabian tale of, I, 269.
BIBLIOGRAPHY
[The Bibliography which follows is intended to supplement the two
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TO BE CORRECTED IN THE PRINT
I, 2 b, note, 6th line from below. _Read_ II, 175.
3 b, 12th line. _Read_ 2 =I=.
9 b, 3d line from below. _Read_ Karadžić’s.
11 a, note *, 3d line. _Read_ 48th and 49th.
14 a, 10th line from below. _Read_ =I=.
24 b, 5th line from below. _Read_ 2d.
29 a, 2d paragraph, 8th line. _Read_ De (Mörners sang).
36 b. [On the names cf. Bugge, Helge-Digtene i den Ældre Edda,
deres Hjem og Forbindelser (second series of his Studier over
de nordiske Gude- og Heltesagn), Kjøbenhavn, 1896, p. 271.]
39 a, 1st line. _Read_ contributed by Hoffmann.
94. [See Bugge’s discussion of the Scandinavian and the English
ballads, Helge-Digtene i den Ældre Edda, pp. 283 ff.]
113 a, 2d paragraph, 5th line. _Read_ Reifferscheid.
124, note †, 4th line. _Read_ Lettish ballad.
154 a, lines 1, 2. _Read_ Reifferscheid.
217 b, 11th line. _Read_ early.
239 a, last line but one of text. _Read_ circumstance.
250 b, last paragraph, 4th line. _Read_ II, 366.
267 b, note †. _Read_ Altswert.
270 a, note *, 5th line. _Read_ I, 152.
281 a, note †, second line. _Read_ Ásmundur.
339 b, 2d paragraph. _Read_ Lanval.
392 b, 2d paragraph, last line but one. _Read_ des.
393 b, 3d line. _Read_ Gianandria.
393 b, 3d paragraph, 23d line. _Read_ No 20, p. 16.
401 a, last paragraph, Pellegrini. _Exchange_ p. 37, p. 93.
418 a, 9th line. _Read_ Asbjørnsen.
424 b, 16th line. _Read_ garland _instead of_ broadside.
457 a, line 20. _Read_ =H= 42.
487 a, 41 a, 16th line. _Read_ II, 29.
488 a, 2d paragraph, 3d line. _Read_ kiego, II, 21.
493 b, 124 a, 5th line. _Read_ Tielemann.
499 a, 2d paragraph, last line. _Read_ blindness and.
II, 39, note †, 3d line. _Read_ c. 49.
81, 45^4. _Read_ (_according to earlier MS._) lest.
102 b, 13th line. _Read_ =B=, =C=, =G=, =H=, =K=, =M=.
137 b, 2d paragraph, line 3. _Read_ =G= 11.
137 b, 2d paragraph, line 6. _Read_ =D= 21.
205 b, notes, 4th line. _Read_ I, 159.
215 a, 2d paragraph, 5th line. _Read_ 1882.
227 f. [See Bugge’s discussion of ‘Fæstemanden i Graven’ and
related ballads, etc., in his Helge-Digtene i den Ældre Edda,
deres Hjem og Forbindelser, pp. 206 ff.]
236 b, 2d paragraph, 4th line. _Read_ II, 84.
244 b, 2d line. _Read_ 26, 27.
346 a, 4th paragraph, line 4. _Read_ 1875.
424 b, last line but three of preface. _Drop_ 83, =E= 32.
502 a, No 29, line 3. For Erox _read_ Evax.
510 a, No 57, 2d paragraph. For R. Köhler _read_ L. Laistner.
512 a, No 68, 1st line; 515 a, last line. _Read_ Norsk.
III, 9 =H=, 4^1. _Read_ browen.
16 a, last line. _Read_ No 119.
19 a, notes, first line. _Read_ X, 5.
41, note §, 2d line. _Read_ I, vii f.
51 b, 5th line. _Read_ No 119.
241 a, 6th line of notes. _Read_ 1765.
242 a, note †, 3d line. _Read_ 1873.
352 a, 2d line. _Read_ ed. 1720.
366 b, note ‡. _Read_ ed. 1873.
373 a, 3d line. _Read_ ed. 1777, II, 54 f.
427, note *. _Read_ Dalyell.
499 b, p. 156 b, etc., 5th and 6th lines. _Read_ Koritko, Part III,
p. 47.
501 b, 4th paragraph, 1st line. _Read_ I, 503 a.
501 b, 6th paragraph, 2d line. _Read_ 572.
517 b, 22d line. _Read_ 69. 23d line. _Read_ 659.
520 a, 1st line. _Read_ El Penitente.
IV, 62 b, 3d paragraph, 8th line. _Read_ =J= =a=, =b=.
162, note ‖, last line but two. _Read_ next ballad.
165 b. [On the Scandinavian ballad see Bugge, Helge-Digtene, pp.
295-7.]
187 a, 9th line. _Read_ 386.
268, 19^1. _Read_ Now she’s.
401 b, 2d line. _Read_ Hind Horn.
410, 23^1, garned. _Read_ gazed (_as in the original MS._).
441 a, 4th paragraph, last line. _Read_ Fedorowski.
459 b, 3d paragraph, 4th line. _Read_ VIII, 109.
482 a, No 96, 2d paragraph, 1st line. _Read_ Doncieux.
V. Advertisement. 3d paragraph, 2d line. _Read_ Saline.
8 b, note †. _Read_ note by Pinkerton.
13 b, line 15. _Read_ Jours.
32 a, lines 4, 6. _Read_ Böhme.
34 b, note †. _Read_ Harland ... ed. 1882.
36, 3^3. _Read_ petticoats.
40 b, 7th line. _Read_ I, 67.
65 a, 3d line. _Read_ Χιακὰ.
65 a, 8th and 9th lines. _Read_ 1857, I, 409.
88 b, 3d paragraph, 3d line. _Read_ Genest.
98 a, =B=, 2d line. _Read_ 20th August.
99, 9^3. _Read_ Now since.
108, =B=, 10^1. _Read_ year (_twice_).
121 a, 2d paragraph, line 2. _Read_ May 18.
147, 4^4. _Read_ man who.
151, =F=, 1^3. _Read_ nor tree.
168 a, 2d line of notes. _Drop_ =B=.
180, 2^3. _Read_ Ye sleep, ye wake, ye.
203 a, 9th, 10th line from below. _Read_ p. 80, No 73 =C=.
210 b, No 17, Romaic. _Read_ Manousos, II, 103; but the ballad has
been cited II, 215, where it more properly belongs.
214 b, 3^2. _Drop_ ea, _remnant of a correction of reading_.
215, 14^3. _Read_ An a’ the fish came.
215 b, No 39, =D= a, 12^2. _Read_ aft her gates.
219, 17^4. _Read_ Has he.
220 a, No 56, 2d line. _Read_ Dardy.
221, 20^4. _Read_ gell _as in the MS_.
222 a, 31^1. _Bracket this line._
222 b, 115, =B=, 4^4. _Drop._
225 b, note to No 80, 10th line. _Read_ Yule’s (Marco Polo).
227 b, 7^4. _Read_ Ther.
231 b, 2d paragraph, 4th line. _Read_ II, 265.
234 a, No 96, 1st paragraph. _Drop the last sentence._
235 b, =D=, 1^2. _Read_ An a.
240 a, No 132. _Read_ P. 154.
241 a, =U=, first line. _Read_ 1892.
243 b, 3^4. _Read_ hes.
246 a, 3^1. _Read_ Her father.
247 a, 11^3. _Read_ bare the bran.
249, note *. _Read_ R. R. Stodart.
251 b, 5th line. _Drop._
255 a, 314. _Read_ 214.
256 b, 13^4. _Drop_ she.
257 a, 10^6. _Read_ rins our my.
262, No 223, _MSS have at_ 13^2, with: 18^1, over.
262, No 225, P. 249, last line but one, _say_ added later by Sharpe.
264 a, 24^3. _Read_ Thee.
265 b, 6^3. _Read_ onye thing that.
270 a, line 8. _Drop_ 7^4. O come.
275 a, last line but 4. _Read_ Skene.
275 a, 1^1. _Probably_ bonny Lothen.
276, 12^3. _Read_ gin we.
277, 7^1. _Probably_ mony fair.
279 a, 17^4. _Drop._
279 b, No 266, 4th line. _Read_ V, III, 104.
281 a, last line of 3d paragraph. _Read_ =I= †.
Trivial Corrections of Spelling.
I, 492 a, 5^1. _Read_ better.
II, 104, 19^{1,2}. _Read_ pat.
III, 9, =H= 8^4. _Read_ brume.
IV, 105, 11^1. _Read_ Martinmass.
267, 10^2. _Read_ convoyd.
268, 18^3. _Read_ Altho.
V, 33 b, line 16. _Read_ turpiter.
35, =A=, 4^4. _Read_ go sae.
36, 14^1. _Read_ tean.
98, =B=, 2^1. _Read_ win.
99, 8^4. _Read_ doun.
103 b, =B=, =c=, 1^4. _Read_ and letee. 15^1. _Read_ friar.
108, =B=, 4^1. _Read_ jumpet. 6^1. _Read_ a’.
110, 4^2, 12^2. _Read_ misstres.
111, 22^2. _Read_ Hony.
116 a, =A=, title. _Read_ Shiperd.
116 a, 2^2. _Read_ of ... nead.
116 a, 2^3. _Read_ whelk.
116 b, 3^2. _Read_ loued.
117, 7^4. _Read_ follouing.
117 b, 13^1. _Read_ gentilmen.
121 a, 2d paragraph, l. 5. _Read_ i the. l. 9. _Read_ wi.
125, 5^1. _Read_ a dream.
140, e, 8^2. _Read_ an thrice.
147, 10^3. _Read_ I am.
153 a, 1^2 _Read_ drinkin’.
153 b, 4th line of preface. _Read_ Kiltie.
153 b, 6^3. _Read_ cuningly.
165, 1^4. _Read_ Tartan-trues.
197, 10^3 _Read_ muntit.
208, 8^1. _Read_ cam.
209 b, line 16. _Read_ Ron̑nal (_whatever that may mean_).
215 a, 11^3. _Read_ daugh[t]er.
217 a, 17^2. _Read_ divell.
217 b, No 49, 1^1. _Read_ two.
218 a, 6^1. _Read_ on my.
219 b, 28^1. _Read_ count[r]y.
220 b, 5^1. _Read_ saddel.
223 a, p. 148, 21^1, 22^1. _Read_ h’m.
223 b, 8^3. _Read_ marrey (?).
224, 12^1. _Read_ He’se (?).
224, 12^3. _Read_ marrage. 16^3. smaa.
224, 17^5. _Read_ got (?).
225 a, p. 219. _Insert_, 11^2. gate.
227, 7^3. _Perhaps_, monning.
228, 19^1. _Read_ Mukkel. 20^1. ribbins.
228, 22^3. _Read_ gei, _or_ gee. 26^3. an she.
228, 26^4. _Read_ att. 28^2. milk-whit.
229, 31^2. _Read_ hee. 33^1. _Perhaps_ daughters.
235 b, =D=, 5^3. _Read_ k[n]ight.
236 b, 20^2. _Read_ frie.
241 b, 5^1. _Read_ one.
242 a, 8^4. _Read_ Belou. 15^2. baked leak.
243 a, 16^4. _Read_ smodderd.
247 b, 21^2. _Read_ Nor. 23^3. fra.
247 b, 1^2. _Read_ call. 1^4. halld.
247 b, 2^2. _Read_ merrey.
248, 3^3. _Read_ Edom. 11^3. t[a]ne.
248, 13^3. _Read_ Bat. 19^1. an of.
248, 22^4. _Read_ gett. Last line, _add_ 17^1. Her.
249 b, 8^2. _Read_ weel.
256 a, 2^2. _Read_ get. 7^1. forder.
256 b, 14^2. _Read_ narrou.
260, No 221, 3^1. _Read, perhaps_, Lamendall.
261 b, 11^1. _Read_ But.
265 a, 11^1. _Read_ S[i]r. 13^2. ouer.
265 a, 17^1. _Read_ milk-whit. 18^3. came.
265 b, 4^4. _Read_ Healend.
266 b, 5^1. _Read_ rode.
267 b, 5^2. _Read_ middell.
269, 1^3. _Read_ marriage. 16^3. hunder.
271 a, 6^4. _Read_ welcom. 13^2. wer.
271 a, 16^3. _Read_ horses.
271 b, 5th line. _Read_ carrlis. 3^4. welcome.
273 a, 13^4. _Read, perhaps_, haae.
275 a, 12^3. _Read_ mach.
276 a, 15^1. _Read_ tuenty.
277 a, 2^3. _Read_ forestes.
277 b, 8^1. _Read_ clapet.
278 a, 25^1. _Read_ ouer.
278 b, 31^3. _Read, perhaps_, eair. 32^1. sayes.
Appendix
[This essay is reprinted from the _Publications of the Modern Language
Association of America_, Vol. XXI, No. 4, pp. 755-807 (New Series, Vol.
XIV, No. 4), 1906.]
PROFESSOR CHILD AND THE BALLAD
In the course of his insistence upon the necessity of a continued
recognition of the popular ballad as a distinct literary type,
Professor Gummere points out the value of a collection of Professor
Child’s critical remarks on the ballad and an attempt to determine
their general drift.[134] Such is the purpose of the present paper.
Aside from the article in the _Universal Cyclopædia_, Professor Child’s
comments are mere _obiter dicta_, based upon no underlying principle
and forming no part of a set purpose. They are, therefore, not easy to
classify; the attempt to reduce them to order can be only partially
successful, and any arrangement must appear more or less arbitrary.
Yet some arrangement has seemed advisable and they have been roughly
grouped under the following headings: (1) Authorship and Transmission;
(2) Subject-Matter; (3) Technique; (4) A Comparison of the _Ballads_ of
1857-1859 and _The English and Scottish Popular Ballads_ of 1882-1898;
(5) A Collection of General Comments upon Specific Ballads; (6)
Summary.
I.
In that article in the _Universal Cyclopædia_ which Professor Child
“wished to be neither quoted nor regarded as final,”[135] but which
must here be combined with other tentative or fragmentary statements,
he defined the _popular ballad_ as “a distinct and very important
species of poetry. Its historical and natural place,” he said, “is
anterior to the appearance of the poetry of art, to which it has
formed a step, and by which it has been regularly displaced, and, in
some cases, all but extinguished. Whenever a people in the course of
its development reaches a certain intellectual and moral stage, it
will feel an impulse to express itself, and the form of expression
to which it is first impelled is, as is well known, not prose, but
verse, and in fact narrative verse. The condition of society in which
a truly national or popular poetry appears explains the character of
such poetry. It is a condition in which the people are not divided by
political organization and book-culture into markedly distinct classes,
in which consequently there is such community of ideas and feelings
that the whole people form an individual. Such poetry, accordingly,
while it is in its essence an expression of our common human nature,
and so of universal and indestructible interest, will in each case be
differenced by circumstances and idiosyncrasy. On the other hand, it
will always be an expression of the mind and heart of the people as
an individual, and never of the personality of individual men. The
fundamental characteristic of popular ballads is therefore the absence
of subjectivity and of self-consciousness. Though they do not ‘write
themselves,’ as William Grimm has said, though a man and not a people
has composed them, still the author counts for nothing, and it is not
by mere accident, but with the best reason, that they have come down to
us anonymous. Hence, too, they are extremely difficult to imitate by
the highly civilized modern man, and most of the attempts to reproduce
this kind of poetry have been ridiculous failures.
“The primitive ballad, then, is popular, not in the sense of something
arising from and suited to the lower orders of a people. As yet, no
sharp distinction of high and low exists, in respect to knowledge,
desires, and tastes. An increased civilization, and especially the
introduction of book-culture, gradually gives rise to such a division;
the poetry of art appears; the popular poetry is no longer relished by
a portion of the people, and is abandoned to an uncultivated or not
over-cultivated class--a constantly diminishing number.”
But “the popular ballad is not originally the product or the property
of the lower orders of the people. Nothing, in fact, is more obvious
than that many of the ballads of the now most refined nations had
their origin in that class whose acts and fortunes they depict--the
upper class--though the growth of civilization has driven them from
the memory of the highly polished and instructed, and has left them as
an exclusive possession to the uneducated. The genuine popular ballad
had its rise in a time when the distinctions since brought about by
education and other circumstances had practically no existence. The
vulgar ballads of our day, the ‘broadsides’ which were printed in such
large numbers in England and elsewhere in the sixteenth century or
later, belong to a different genus; they are products of a low kind of
_art_, and most of them are, from a literary point of view, thoroughly
despicable and worthless.
“Next it must be observed that ballads which have been handed down by
long-repeated tradition have always departed considerably from their
original form. If the transmission has been purely through the mouths
of unlearned people, there is less probability of willful change,
but once in the hands of professional singers there is no amount of
change which they may not undergo. Last of all comes the modern editor,
whose so-called improvements are more to be feared than the mischances
of a thousand years. A very old ballad will often be found to have
resolved itself in the course of what may be called its propagation
into several distinct shapes, and each of these again to have received
distinct modifications. When the fashion of verse has altered, we
shall find a change of form as great as that in the _Hildebrandslied_,
from alliteration without stanza to stanza with rhyme. In all cases
the language drifts insensibly from ancient forms, though not at
the same rate with the language of every-day life. The professional
ballad-singer or minstrel, whose sole object is to please the audience
before him, will alter, omit, or add, without scruple, and nothing is
more common than to find different ballads blended together.
“There remains the very curious question of the origin of the
resemblances which are found in the ballads of different nations, the
recurrence of the same incidents or even of the same story, among races
distinct in blood and history, and geographically far separated.” It
is not necessary to go back to a common ancestry to explain these
resemblances. “The incidents of many ballads are such as might occur
anywhere and at any time; and with regard to agreements that can not
be explained in this way we have only to remember that tales and songs
were the chief social amusement of all classes of people in all the
nations of Europe during the Middle Ages, and that new stories would
be eagerly sought for by those whose business it was to furnish this
amusement, and be rapidly spread among the fraternity. A great effect
was undoubtedly produced by the crusades, which both brought the chief
European nations into closer intercourse and made them acquainted with
the East, thus facilitating the interchange of stories and greatly
enlarging the stock.”
This account of authorship and transmission may be illustrated and
supplemented by _obiter dicta_ from _The English and Scottish Popular
Ballads_. “The author counts for nothing;” the ballad is essentially
anonymous: that Expliceth quod Rychard Sheale means merely that _The
Hunting of the Cheviot_ (162) “was of course part of his stock as
minstrel; the supposition that he was the author is preposterous in the
extreme.”[136]
Ballads are at their best when “the transmission has been purely
through the mouths of unlearned people,” when they have come down
by domestic tradition, through knitters and weavers. _Glasgerion_
(67, B) “is mainly of good derivation (a poor old woman in
Aberdeenshire).”[137] And “no Scottish ballads are superior in kind to
those recited in the last century by Mrs Brown, of Falkland.”[138] Yet
even upon Mrs Brown printed literature may have had some influence: in
_Fause Foodrage_ (89), “the resemblance in the verse in A 31, ‘The boy
stared wild like a gray gose-hawke,’ to one in ‘Hardyknute,’ ‘Norse
een like gray goss-hawk stared wild,’ struck Sir Walter Scott as
suspicious,” and “it is quite possible that Mrs Brown may unconsciously
have adopted this verse from the tiresome and affected Hardyknute, so
much esteemed in her day.”[139] A literary treatment of a ballad theme
may affect the traditional versions of that ballad. In the case of
_Child Maurice_ (83) “the popularity of the play [Home’s _Douglas_]
seems to have given vogue to the ballad. The sophisticated copy passed
into recitation, and may very likely have more or less infected those
which were repeated from earlier tradition.”[140] A whole ballad may
even be completely derived from print, and yet, in the course of time,
revert to the popular form. Of this same ballad, _Child Maurice_, “Mr
Aytoun considers that E is only the copy printed in the middle of the
last century purged, in the process of oral transmission, of what was
not to the popular taste, ‘and altered more.’ There is no doubt that
a copy learned from print may be transformed in this way, but it is
certain that old tradition does not come to a stop when a ballad gets
into print.”[141]
Not only the possible influence of print is to be taken into account;
much depends on the material to which the reciter was exposed and upon
his selection. “It will not ... help the ballad [_Young Bearwell_
(302)] much that it was not palmed off on Buchan in jest or otherwise,
or even if it was learned from an old person by Mr Nicol in his youth.
The intrinsic character of the ballad remains, and old people have
sometimes burdened their memory with worthless things.”[142] Editors
were not the only interpolators; of _The Twa Sisters_ (10), A, a,
11-13, need not have been written, but “might easily be extemporized
by any singer of sufficiently bad taste.”[143] The varying memory of
reciters, too, was a cause of unintentional change. Thus “Mrs Brown
was not satisfied with A b [of _Bonny Baby Livingston_ (222)], which
Jamieson had taken down from her mouth, and after a short time she
sent him A a. The verbal differences are considerable. We need not
suppose that Mrs Brown had heard two ‘sets’ or ‘ways,’ of which she
blended the readings; the fact seems to be that, at the time when
she recited to Jamieson, she was not in good condition to remember
accurately.”[144] In general, however, the folk memory is remarkable
for its tenacity. “Most of the [Danish] versions [of _Earl Brand_ (7)]
from recitation are wonderful examples and proofs of the fidelity with
which simple people ‘report and hold’ old tales: for, as the editor
has shown, verses which never had been printed, but which are found in
old manuscripts, are now met with in recited copies; and these recited
copies, again, have verses that occur in no Danish print or manuscript,
but which nevertheless are found in Norwegian and Swedish recitations,
and, what is more striking, in Icelandic tradition of two hundred
years’ standing.”[145]
The ballad does not remain in the possession of the simple folk, or of
reciters of Mrs Brown’s instinctive good taste. Its best fortune is
then perhaps to fall into the hands of children, like _The Maid Freed
From the Gallows_ (95), of which “F had become a children’s game, the
last stage of many old ballads.”[146] Again, “it is interesting to find
the ballad [_The Twa Brothers_ (49)] still in the mouths of children in
American cities,--in the mouths of the poorest, whose heritage these
old things are.”[147] _Sir Hugh_ (155) in the form of _Little Harry
Hughes and the Duke’s Daughter_, was heard, says Mr Newell, “from a
group of colored children, in the streets of New York city,” and traced
“to a little girl living in one of the cabins near Central Park.”[148]
Less happy is the fate of the ballad when it falls into the hands
of professional singers,--the Minstrel Ballad is to be considered
presently,--or when it falls into the hands of amateurs of various
sorts, who corrupt and debase it. _Hind Etin_ (41) “has suffered
severely by the accidents of tradition. A has been not simply damaged
by passing through low mouths, but has been worked over by low hands.
Something considerable has been lost from the story, and fine romantic
features, preserved in Norse and German ballads, have been quite
effaced.”[149] Of _The Clerk’s Twa Sons o Owsenford_ (72) “D has some
amusing dashes of prose, evidently of masculine origin. [Examples
follow]. We have here a strong contrast with both the blind-beggar
and the housemaid style of corruption; something suggesting the
attorney’s clerk rather than the clerk of Owsenford, but at least not
mawkish.”[150] The “blind beggar” is, of course, Buchan’s collector,
and whether he or the editor was responsible for the corruptions is
not always clear. The blind beggar himself, however, comes in for
special condemnation in the comment on _The Bent Sae Brown_ (71):
“The introduction and conclusion, and some incidental decorations,
of the Scottish ballad will not be found in the Norse, but are an
outcome of the invention and the piecing and shaping of that humble
but enterprising rhapsodist who has left his trail over so large a
part of Buchan’s volumes.”[151] In _Brown Robin_ (97) “the story
undoubtedly stops at the right point in A, with the escape of the two
lovers to the wood. The sequel in C is not at all beyond the inventive
ability of Buchan’s blind beggar, and some other blind beggar may have
contrived the cane and the whale, the shooting and the hanging, in
B.”[152] As type of the housemaid style of corruption may, perhaps,
stand _Lizie Lindsay_ (226). “Leezie Lindsay from a maid-servant in
Aberdeen,” wrote Jamieson to Scott of A b.[153] And, “in his preface to
B, Kinloch remarks that the ballad is very popular in the North, ‘and
few milk-maids in that quarter but can chaunt it.’”[154] “Ballads of
this description [a young lord o the Hielands, pretending that he is
the son of an auld shepherd and an auld dey, persuades a young lady of
Edinburgh to fly with him to the Highlands, where he at length reveals
his identity]--ballads of this description are peculiarly liable
to interpolation and debasement, and there are two passages, each
occurring in several versions, which we may, without straining, set
down to some plebeian improver.”[155]
Not mere corruption, but serving-man authorship, even, is suggested
for _Tom Potts_ (109): “Such events [unequal matches] would be
celebrated only by fellows of the yeoman or of the foot-boy, and
surely in the present case the minstrel was not much above the estate
of the serving-man. Lord Jockey’s reckless liberality throughout,
and Lord Phoenix’s in the end, is a mark of the serving-man’s ideal
nobleman.”[156] Again as mere corrupter, rather than author, appears
the ostler in one version of _Bewick and Graham_, (211). In the 1833
edition of _The Border Minstrelsy_ “deficiencies were partly supplied
and some different readings adopted ‘from a copy obtained by the
recitation of an ostler in Carlisle.’” g “is shown by internal evidence
to be the ostler’s copy. Both copies [g and h] were indisputably
derived from print, though h may have passed through several mouths, g
agrees with b--f closely as to minute points of phraseology which it
is difficult to believe that a reciter would have retained. It looks
more like an immediate, though faulty, transcript from print.”[157]
Contrasting styles are suggested in the comment on _The Broomfield
Hill_ (43): “The editor [of the broadside, “differing as to four or
five@@ words only from F”] remarks that A is evidently taken@ from F;
from which it is clear that the pungent buckishness of the broadside
does not necessarily make an impression. A smells of the broom;
F suggests the groom.”[158] Perhaps not to be classed with these
non-professional corrupters or interpolators is the bänkelsänger who
is responsible for one of the German versions of _Lady Isabel and the
Elf Knight_ (4): “M smacks decidedly of the bänkelsänger, and has an
appropriate moral at the tail: _animi index cauda!_”[159] Perhaps he is
to be regarded as a humble sort of minstrel; to the comments on this
class we may now turn our attention.
It does not appear from Professor Child’s remarks whether he thought of
the minstrel as composing his ballads,--or making them over,--orally
or in writing. Perhaps we are to suppose that he followed now one
method, now the other. Rychard Sheale may be supposed to have affixed
his “expliceth” to his written copy of Chevy Chase; yet it is “_quod_
Rychard Sheale” as if the manuscript had been written by another from
his singing. But whether the ballad passed through the minstrel’s mouth
or through his hands, it received some peculiar and characteristic
modifications. Thus The _Boy and the Mantle_ (29), _King Arthur and
King Cornwall_ (30), and _The Marriage of Sir Gawain_ (31) “are clearly
not of the same rise, and not meant for the same ears, as those which
go before. They would come down by professional rather than by domestic
tradition, through minstrels rather than knitters and weavers. They
suit the hall better than the bower, the tavern or public square
better than the cottage, and would not go to the spinning-wheel at
all. An exceedingly good piece of minstrelsy ‘The Boy and the Mantle’
is, too; much livelier than most of the numerous variations on the
somewhat overhandled theme.”[160] _Crow and Pie_ (111), likewise,
“is not a purely popular ballad, but rather of that kind which, for
convenience, may be called the minstrel-ballad. It has, however,
popular features, and markedly in stanzas 13, 14,”[161]--the damsel’s
demanding the name of the man who has wronged her, a feature found in
_The Bonny Hind_ (50) and its continental parallels.[162] The term
_minstrel_ may, perhaps, be more loosely used in the passage which
describes _The Rising in the North_ (175) as “the work of a loyal
but not unsympathetic minstrel;”[163] in the statement concerning
_Northumberland Betrayed by Douglas_ (176), that “the ballad-minstrel
acquaints us with circumstances concerning the surrender of
Northumberland;”[164] and in the statement to the effect that, in the
case of _Tom Potts_ (109), “the minstrel was not much above the estate
of the serving-man.”[165]
We may now attempt to construct an account of the vicissitudes to
which the ballad was subject when, in the course of transmission, it
sometimes found its way into writing and into print. Version B of _The
Hunting of the Cheviot_ (162) “is a striking but by no means a solitary
example of the impairment which an old ballad would suffer when
written over for the broadside press. This very seriously enfeebled
edition was in circulation throughout the seventeenth century, and
much sung ... despite its length. It is declared by Addison, in his
appreciative and tasteful critique ... to be the favorite ballad of
the common people of England.”[166] Similarly, in the case of _Sir
Andrew Barton_ (167), “a collation of A and B will show how ballads
were retrenched and marred in the process of preparing them for the
vulgar press.”[167] “B begins vilely, but does not go on so ill. The
forty merchants coming ‘with fifty sail’ to King Henry on a mountain
top ... requires to be taken indulgently.”[168] Though a broadside
differs widely from a true ballad, it is not to be supposed that,--at
least in the examples included by Professor Child,--some general traits
or special features peculiar to the popular or traditional matter or
manner did not survive. Thus, although the ballad of _The Twa Knights_
(268) “can have had no currency in Scotland, and perhaps was known
only through print,” yet “a similar one is strictly traditional in
Greece, and widely dispersed, both on the mainland and among the
islands.”[169] Again, there are two broadsides of _King John and the
Bishop_ (45), which Professor Child does not include, “both inferior
even to B, and in a far less popular style.”[170] There are, then,
degrees of departure from the popular style. There are degrees of
departure from the popular matter, also, and the broadside preserves
sometimes but a single popular feature. Version M of _Young Beichan_
(53) “was probably a broadside or stall copy, and is certainly of that
quality, but preserves a very ancient traditional feature.”[171] The
broadside version of _The Broomfield Hill_ (43) is distinguished by a
“pungent buckishness,” which is not found in A, and which “suggests
the groom.”[172] A broadside may itself become tradition. The English
version of _Lord Thomas and Fair Annet_ (73) “is a broadside of Charles
the Second’s time.... This copy has become traditional in Scotland and
Ireland. The Scottish traditional copy ... is far superior, and one of
the most beautiful of our ballads, and indeed of all ballads.”[173]
The tradition lives, even after a ballad has found its way into print,
and may influence and modify later versions of the printed form. Of
_Prince Heathen_ (104) “the fragment A ... is partly explained by B,
which is no doubt some stall-copy, reshaped from tradition.”[174] Of
_The Baffled Knight_ (112) “E is, in all probability, a broadside copy
modified by tradition.”[175] In origin, in any case, the broadsides in
_The English and Scottish Popular Ballads_ are popular.[176] “There
is a Scottish ballad [similar to _The Baffled Knight_] in which the
tables are turned.... This, as being of comparatively recent, and not
of popular, but of low literary origin, cannot be admitted here.”[177]
“Last of all comes the modern editor,” and from Professor Child’s
comments and skilful undoing of much of their work one might put
together fairly complete accounts of the methods of Percy, Scott,
Jamieson, Buchan, and the rest. We are concerned, however, not so
much with the editors as with the results of their editing, with
the kinds of change that the ballad suffered in their hands. It
was often lengthened, in many cases by the combination of several
versions. Thus Scott’s version of _Tam Lin_ (39, I), “as he himself
states, was compounded of the Museum copy, Riddell’s, Herd’s, and
‘several recitals from tradition.’”[178] Of this use of materials
from recitation examples are very numerous. Ballads were lengthened
also by the interpolation of new stanzas. After Scott’s edition, in
the _Minstrelsy_, of _The Twa Sisters_ (10), “Jamieson followed ...
with a tolerably faithful, though not, as he says, _verbatim_,[179]
publication of his copy of Mrs Brown’s ballad, somewhat marred,
too, by acknowledged interpolations.”[180] _King Henry_ (32) was
increased by Jamieson’s interpolations from twenty-two to thirty-four
stanzas.[181] Scott’s version of _Fair Annie_ (62, A) “was obtained
‘chiefly from the recitation of an old woman,’ but we are not informed
who supplied the rest. Herd’s fragment, D, furnished stanzas 2-6, 12,
17, 19. A doubt may be hazarded whether stanzas 8-10 came from the old
woman.”[182] Interpolation and combination are here both illustrated.
Scott’s later edition of _Tam Lin_ (39) “was corrupted with eleven new
stanzas, which are not simply somewhat of a modern cast as to diction,
as Scott remarks, but of a grossly modern invention, and as unlike
popular verse as anything can be.”[183] Of his version of _Jellon
Grame_ (90) Scott says: “‘Some verses are apparently modernized.’” “The
only very important difference between Scott’s version and Mrs Brown’s
is its having four stanzas of its own, the four before the last two,
which are evidently not simply modernized, but modern.”[184]
But the editor did not merely combine or interpolate; more vaguely,
he “improved.” Version E of _The Fair Flower of Northumberland_ (9),
“a traditional version from the English border, has unfortunately
been improved by some literary pen.”[185] Or he “retouched,”[186] or
“altered,”[187] or “emended.” Scott confesses to some emendation of
_Kinmont Willy_ (186); “it is to be suspected that a great deal more
emendation was done than the mangling of reciters rendered absolutely
necessary. One would like, for example, to see stanzas 10-12 and 31 in
their mangled condition.”[188] In general, no changes or additions are
“in so glaring contrast with the groundwork as literary emendations
of traditional ballads.”[189] “Variations,” also, are to be noted:
inaccuracies in _The Fire of Frendraught_ (196) are acknowledged by
Motherwell; “the implication is, or should be, that these variations
are of editorial origin.”[190] Of _Sweet William’s Ghost_ (77, A and
B), “Percy remarks that the concluding stanza seems modern. There can
be no doubt that both that and the one before it are modern; but, to
the extent of Margaret’s dying on her lover’s grave, they are very
likely to represent original verses not remembered in form.”[191]
Certain general results of transmission, of whatever kind, are to be
noted. As a ballad passes from one country to another the nationality
of the hero may be changed. In _Hugh Spencer’s Feats in France_ (158)
“Hugh is naturally turned into a Scotsman in the Scottish version,
C.”[192] The hero’s name is not more stable than his nationality. “In
the course of transmission [of _John Thomson and the Turk_ (266)], as
has ever been the wont, names were changed, and also some subordinate
circumstances.”[193] Again, “the actual name of the hero of a ballad
affords hardly a presumption as to who was originally the hero.”[194]
Even the part that he plays the hero may exchange with another
character. “Robin Hood’s rescue of Little John, in Guy of Gisborne,
after quarrelling with him on a fanciful provocation, is a partial
offset for Little John’s heart-stirring generosity in this ballad.
[_Robin Hood and the Monk_ (119).] We have already had several cases of
ballads in which the principal actors exchange parts.”[195] The ballad,
again, is not constant in its attachment to one locality, and “the
topography of traditional ballads frequently presents difficulties,
both because it is liable to be changed, wholly, or, what is more
embarrassing, partially, to suit a locality to which a ballad has been
transported, and again because unfamiliar names, when not exchanged,
are exposed to corruption.”[196] Thus, “in the ballad which follows
this [_Rare Willie Drowned in Yarrow_ (215)], a western variety of the
same story, Willie is drowned in the Clyde.”[197]
The corruption of names is but one phase of the change to which
all unfamiliar ballad diction is exposed. “At every stage of oral
transmission we must suppose that some accidental variations from
what was delivered would be introduced, and occasionally some wilful
variations. Memory will fail at times; at times the listener will hear
amiss, or will not understand, and a perversion of sense will ensue,
or absolute nonsense,--nonsense which will be servilely repeated, and
which repetition may make more gross.... Learned words do not occur
in ballads; still an old native word will be in the same danger of
metamorphosis. But, though unfamiliarity naturally ends in corruption,
mishearing may have the like effect where the original phrase is in no
way at fault....
“It must be borne in mind, however, that as to nonsense the burden
of proof rests always upon the expositor. His personal inability
to dispose of a reading is not conclusive; his convictions may be
strong, but patience and caution are his part and self-restraint as to
conjectures.”[198]
In transmission, then, and even in the best of it, the ballad
ordinarily fares but ill, “departs from the original form,” becomes
less typically ballad; and, generally speaking, the older it is, the
earlier it is caught and fixed in print, the better. Professor Child
has thus special praise for those Robin Hood ballads which “have
come down to us in comparatively ancient form.”[199] _Robin Hood’s
Death_ (120, B) is “in the fine old strain.”[200] _Robin Hood and
the Beggar_ (134, II), “by far the best of the Robin Hood ballads of
the secondary, so to speak cyclic, period,” is “a composition of some
antiquity,”[201] _Thomas Rymer_ (37) “is an entirely popular ballad as
to style, and must be of considerable age.”[202] One is not to expect
in a late or modern ballad the excellence found in an early or ancient
one. _Robin Hood’s Chase_ (146) “is a well-conceived ballad, and only
needs to be older.”[203] _Walter Lesly_ (296) is “a late, but life-like
and spirited ballad.”[204] _The Hunting of the Cheviot_ (162, B) “is
a striking ... example of the impairment which an old ballad would
suffer when written over for the broadside press.”[205] Version M of
_Young Beichan_ (53) “was probably a broadside or stall copy, and is
certainly of that quality, but preserves a very ancient traditional
feature.”[206] The “ridiculous ballad” of _John Thomson and the Turk_
(266) finds a place in the collection because it is “a seedling from
an ancient and very notable story.”[207] _The Knight’s Ghost_ (265)
“has not a perceptible globule of old blood in it, yet it has had
the distinction of being more than once translated as a specimen of
Scottish popular ballads.”[208] Scott’s later edition of _Tam Lin_ (39)
“was corrupted with eleven new stanzas, which are not simply somewhat
of a modern cast as to diction, as Scott remarks, but of a grossly
modern invention, and as unlike popular verse as anything can be.”[209]
Scott’s version of _Jellon Grame_ (90) has four stanzas of its own,
“which are evidently not simply modernized, but modern.”[210] Certain
stanzas in version B b of _Archie o Cawfield_ (188) “are indifferent
modern stuff.”[211] The “modern ballad” on the subject of _The Heir of
Linne_ (267) is “an inexpressibly pitiable ditty.”[212]
Certain counterfeits, imitations, or “spurious” ballads, wholly or
almost wholly the work of editors or modern writers, are included
in Professor Child’s collection. _Robin Hood and the Tinker_ (127)
is a “contemptible imitation of imitations.”[213] Buchan’s version
of _Young Waters_ (94) is, for the most part, “a counterfeit of the
lowest description. Nevertheless it is given in an appendix; for much
the same reason that thieves are photographed.”[214] _Young Ronald_
(304) is an example of the “spurious” ballad, and the reasons for
its inclusion are given at some length. “If any lover of ballads
should feel his understanding insulted by the presentation of such
a piece as this, I can have no quarrel with him. There is certainly
much in it that is exasperating.... In this and not a very few other
cases, I have suppressed disgust, and admitted an actually worthless
and manifestly--at least in part--spurious ballad, because of a
remote possibility that it might contain relics, or be a debased
representative, of something genuine and better. Such was the advice of
my lamented friend, Grundtvig, in more instances than those in which
I have brought myself to defer to his judgment.”[215] For the same
reason is included _The Laidley Worm of Spindleston Heughs_: “This
composition of Mr. Lamb’s--for nearly every line of it is his[216]--is
not only based on popular tradition, but evidently preserves some small
fragments of a popular ballad, and for this reason is given in an
Appendix.”[217]
II.
From what has been said it is clear that, as a rule, the ballad is
at its best, is most typically ballad, when its subject-matter is of
purely popular origin. The _Gest_ and the earliest Robin Hood ballads
“are among the best of all ballads,” and Robin Hood “is absolutely
a creation of the popular muse. The earliest mention we have of him
is as the subject of ballads.”[218] “Absolutely a creation of the
popular muse” would seem to imply that the ballad is not,--or that
these ballads at least are not,--based either upon a formless popular
tradition or upon definite prose tales. Local traditions follow the
ballad, as attempts to explain it; they do not supply the story. “In
places where a ballad has once been known, the story will often be
remembered after the verses have been wholly or partly forgotten, and
the ballad will be resolved into a prose tale, retaining, perhaps, some
scraps of verse, and not infrequently taking up new matter, or blending
with other traditions. Naturally enough, a ballad and an equivalent
tale sometimes exist side by side.”[219]
The existence of foreign traditional parallels is one evidence of
popular origin. _The Bent Sae Brown_ (71) has close resemblances
with Norse ballads; “but the very homeliness of the Scottish ballad
precludes any suspicion beyond tampering with tradition. The silliness
and fulsome vulgarity of Buchan’s versions often enough make one
wince or sicken.... But such correspondences with foreign ballads as
we witness in the present case are evidence of a genuine traditional
foundation.”[220] Less complete, yet even more striking, are the
foreign versions of the theme of _Tam Lin_ (39).
“This fine ballad stands by itself, and is not, as might have been
expected, found in possession of any people but the Scottish. Yet
it has connections, through the principal feature in the story, the
retransformation of Tam Lin, with Greek popular tradition older than
Homer.”[221] “We come ... surprisingly near to the principal event of
the Scottish ballad in a Cretan fairy-tale ... [1820-1830].” And this
“Cretan tale does not differ from the one repeated by Apollodorus from
earlier writers a couple of thousand years ago more than two versions
of a story gathered from oral tradition in these days are apt to do.
Whether it has come down to our time from mouth to mouth through
twenty-five centuries or more, or whether, having died out of the
popular memory, it was reintroduced through literature, is a question
that cannot be decided with certainty; but there will be nothing
unlikely in the former supposition to those who bear in mind the
tenacity of tradition among people who have never known books.”[222]
_The Suffolk Miracle_ (272) has “impressive and beautiful”[223]
European parallels, and therefore finds a place in Professor Child’s
collection. Other debased or counterfeit or spurious ballads are
present for the same reason, or because, like _Tam Lin_, they contain
some purely popular or traditional feature. Certain features are
expressly declared to be popular or to be common in ballads; among
these are the quibbling oaths and the unbosoming oneself to an oven
or stove, in _The Lord of Lorn and the False Steward_ (271);[224]
the miraculous harvest in _The Carnal and the Crane_ (55);[225] the
childbirth in the wood in _Leesome Brand_ (15) and in _Rose the Red
and White Lily_ (103);[226] the presence of three ladies, “that the
youngest may be preferred to the others;” the unpardonable “offence
given by not asking a brother’s assent to his sister’s marriage” in
_The Cruel Brother_ (11);[227] the testament in _The Cruel Brother_,
_Lord Randal_, _Edward_, etc.;[228] the riddles in _Riddles Wisely
Expounded_ (1), etc.;[229] and certain stanzas in _Crow and Pie_
(111).[230] “Heroic sentiment” is a characteristic of the earlier
Robin Hood ballads; in the later it is gone.[231] It may be that in
his appreciation of certain other features Professor Child is thinking
not merely of their excellence but of their peculiarly popular
quality as well. Thus he speaks of “the fine trait of the ringing of
the bells without men’s hands, and the reading of the books without
man’s tongue,”[232] in _Sir Hugh_ (155); and thinks that “perhaps
the original conception [of _The Twa Sisters_ (10)] was the simple
and beautiful one which we find in English B and both the Icelandic
ballads, that the king’s harper, or the girl’s lover, takes three locks
of her yellow hair to string his harp with.”[233]
The ballad does not always go to ancient tradition, or draw upon the
stock of popular themes and motives; occasionally, in more modern
times, it tells the story of some actual occurrence; it is based on
fact. But the balladist feels himself under no obligation of loyalty to
the fact. “A strict accordance with history should not be expected, and
indeed would be almost a ground of suspicion [“or a pure@ accident”].
Ballad singers and their hearers would be as@ indifferent to the facts
as the readers of ballads are now; it is only editors who feel bound
to look closely into such matters.”[234] In _Johnie Armstrong_ (169)
“the ballads treat facts with the customary freedom and improve upon
them greatly.”[235] _Bonny John Seton_ (198) “is accurate as to the
date, not commonly a good sign for such things.”[236] “A ballad taken
down some four hundred years after the event will be apt to retain very
little of sober history.”[237] Yet, in the case of _The Hunting of the
Cheviot_ (162), at least, “the ballad can scarcely be a deliberate
fiction. The singer is not a critical historian, but he supposes
himself to be dealing with facts; he may be partial to his countrymen,
but he has no doubt that he is treating of a real event.”[238] Part of
_The Earl of Westmoreland_ (177) “has an historical substratum, though
details are incorrect.”[239] In _Northumberland Betrayed by Douglas_
(176) “the ballad-minstrel acquaints us with circumstances concerning
the surrender of Northumberland which are not known to any of the
historians.”[240] Local tradition would seem to be even less authentic
than the ballad; “in such cases” as _The Coble o Cargill_ (242) it
“seldom means more than a theory which people have formed to explain a
preëxisting ballad.”[241]
We have already seen how a ballad derived from print tends to revert to
the popular form; the same tendency is evident in the ballad derived
from a romance. Of _Gude Wallace_ (157) “Blind Harry’s Wallace ...
is clearly the source.” “But the portions of Blind Harry’s poem out
of which these ballads were made were perhaps themselves composed
from older ballads, and the restitution of the lyrical form may
have given us something not altogether unlike what was sung in the
fifteenth, or even the fourteenth, century.”[242] _Thomas Rymer_ (37)
is derived from the romance, yet it is “an entirely popular ballad
as to style.”[243] These are the only cases where Professor Child
admits without question the derivation of a ballad from a romance;
in other cases, where ballad and romance tell the same story, he
insists that the possibility of the priority of the ballad must be
considered. Thus the ballad of _Hind Horn_ (17) has close affinity
with the later English romance, but no filiation. “And were filiation
to be accepted, there would remain the question of priority. It is
often assumed, without a misgiving, that oral tradition must needs be
younger than anything that was committed to writing some centuries ago;
but this requires in each case to be made out; there is certainly no
antecedent probability of that kind.”[244] _Fair Annie_ (62) is not
derived from the lay; they “have a common source, which lies further
back, and too far for us to find.”[245] In _Gil Brenton_ (5) “the
artifice of substituting waiting-woman for bride has been thought to
be derived from the romance of Tristan.... Grundtvig truly remarks
that a borrowing by the romance from the popular ballad is as probable
a supposition as the converse.”[246] The ballad does sometimes go to
the romance for details. Thus, in _The Earl of Westmoreland_ (177)
“what follows [stanza 15] is pure fancy work, or rather an imitation
of stale old romance.”[247] _The Kitchie-Boy_ (252) is a modern
adaptation of King Horn, but, “in the particular of the hero’s having
his choice of two women, it is more like the _gest_ of ‘King Horn,’
or ‘Horn Childe and Maiden Rimnild;’ but an independent invention of
the Spanish lady is not beyond the humble ability of the composer of
‘The Kitchie-Boy.’”[248] In the “worthless and manifestly--at least
in part--spurious ballad” of _Young Ronald_ (304), “the nicking
with nay and the giant are borrowed from romances.”[249] Though the
_Gest_, finally, “as to all important considerations, is eminently
original, absolutely so as to the conception of Robin Hood, some
traits and incidents, as might be expected, are taken from what we
may call the general stock of mediæval fiction.”[250] Thus “Robin
Hood will not dine until he has some guest that can pay handsomely for
his entertainment.... This habit of Robin’s seems to be a humorous
imitation of King Arthur, who in numerous romances will not dine till
some adventure presents itself.”[251]
Not only from ancient tradition, from fact, from romance or the
sources of romance may the ballad derive its subject-matter; it may
also turn back upon itself, and as late ballads counterfeit or imitate
the style of earlier ones, so late ballads go to earlier ones for
their subject-matter as well. Thus _The Battle of Otterburn_ (161)
“is likely to have been modernized from ... a predecessor.”[252] Part
of _The King’s Disguise, and Friendship with Robin Hood_ (151) “is a
loose paraphrase, with omissions, of the seventh and eighth fits of
the Gest.”[253] _The Brown Girl_ (295) “recalls ‘Lord Thomas and Fair
Annet,’ ‘Sweet William’s Ghost,’ ‘Clerk Saunders,’ ‘The Unquiet Grave,’
‘Bonny Barbara Allen,’ and has something of all of them.... Still it
is not deliberately and mechanically patched together (as are some
pieces in Part VIII), and in the point of the proud and unrelenting
character of the Brown Girl it is original.”[254] “Deliberately and
mechanically put together” were the pieces of Part VIII which follow.
_Auld Matrons_ (249) “was made by someone who had acquaintance with
the first fit of ‘Adam Bell.’ The anonymous ‘old wife’ becomes ‘auld
Matrons;’ Inglewood, Ringlewood. The conclusion is in imitation of the
rescues in Robin Hood ballads.”[255] _Henry Martyn_ (250) “must have
sprung from the ashes of ‘Andrew Barton,’ of which name Henry Martyn
would be no extraordinary corruption.”[256] _The Kitchie-Boy_ (252)
is “a modern ‘adaptation’ of ‘King Horn’ ... from which A 33, 34,
B 47, D 7, 8, are taken outright.”[257] The first half of _Willie’s
Fatal Visit_ (255) “is a medley of ‘Sweet William’s Ghost,’ ‘Clerk
Saunders,’ and ‘The Grey Cock,’”[258] Of _Broughty Wa’s_ (258), “Stanza
9, as it runs in b, is a reminiscence of ‘Bonny Baby Livingston,’
and 13 recalls ‘Child Waters,’ or ‘The Knight and the Shepherd’s
Daughter.’”[259] A large part of _The New-Slain Knight_ (263) “is
imitated or taken outright from very well known ballads.”[260] Like
some of these later ballads the _Gest of Robyn Hode_ goes back to
earlier ballads for its subject-matter. “The Gest is a popular epic,
composed from several ballads by a poet of a thoroughly congenial
spirit. No one of the ballads from which it was made up is extant in
a separate shape, and some portions of the story may have been of the
compiler’s own invention. The decoying of the sheriff into the wood,
stanzas 181-204, is of the same derivation as the last part of Robin
Hood and the Potter, No 121, Little John and Robin Hood exchanging
parts; the conclusion, 451-56, is of the same source as Robin Hood’s
Death, No 120.”[261] Some of the Middle-English forms “may be relics
of the ballads from which this little epic was made up; or the whole
poem may have been put together as early as 1400, or before.”[262] It
is noteworthy that the _Gest_ was composed _from_, not _of_, several
ballads; it was not made up of unchanged ballads, “deliberately and
mechanically put together.”
The motives or features characteristic of subject-matter derived
from pure popular tradition have already been noted; we may now note
those traits which Professor Child declares or implies to be not
characteristic of such subject-matter. Extravagance would seem to be
one of these: the extravagance of _Hughie Grame_ (191, A, 16) “it is to
be hoped is a corruption.”[263] In _Mary Hamilton_ (173) “there are
not a few spurious passages. Among these are the extravagance of the
queen’s bursting in the door, F 8; the platitude,[264] of menial stamp,
that the child, if saved, might have been an honor to the mother, D 10,
L 3, O 4.”[265] Exaggeration is another non-traditional trait: “It is
but the natural course of exaggeration that the shepherd, having beaten
Robin Hood, should beat Little John. This is descending low enough, but
we do not see the bottom of this kind of balladry here”[266] [_Robin
Hood and the Shepherd_ (165)]. _Robin Hood and Queen Katherine_ (145)
is “a very pleasant ballad, with all the exaggeration.”[267] The true
ballad is not prosaic: in _Fause Foodrage_ (89) “the ... king kills
his successful rival on his wedding-day. According to the prosaic, not
at all ballad-like, and evidently corrupted account in A, there is
a rebellion of nobles four months after the marriage, and a certain
False Foodrage takes it upon himself to kill the king.”[268] The true
ballad is not over-refined: in _The Braes of Yarrow_ (214, C, 2) “the
brothers have taken offence because their sister was not regarded as
his equal by her husband, which is perhaps too much of a refinement for
ballads, and may be a perversion.”[269] The true ballad is not cynical:
_The Twa Corbies_ sounds “something like a cynical variation of the
tender little English ballad,”[270] and it is not printed as a ballad
in Professor Child’s collection. The true ballad is not sophisticated:
it was the influence of the play, Home’s _Douglas_, that gave vogue to
the ballad, _Child Maurice_ (83), and “the sophisticated copy passed
into recitation.”[271] The true ballad is not sentimental: in _Mary
Hamilton_ (173), “there are not a few spurious passages,” among them,
“the sentimentality of H 3, 16.”[272] Jamieson published _Child Waters_
(63, B a) with “the addition of three sentimental stanzas to make Burd
Ellen die just as her enduring all things is to be rewarded.”[273] The
true ballad does not append a moral: a German version of _Lady Isabel
and the Elf-Knight_ (4) “smacks decidedly of the bänkelsänger, and has
an appropriate moral at the tail.”[274] A certain degree of probability
or naturalness is to be expected of the true ballad story: in _Jellon
Grame_ (90), “one day, when the boy asks why his mother does not take
him home, Jellon Grame (very unnaturally) answers, I slew her, and
there she lies: upon which the boy sends an arrow through him.”[275]
Finally, the plot of the true ballad is not trite. In _Child Owlet_
(291) “the chain of gold in the first stanza and the penknife below
the bed in the fourth have a false ring, and the story is of the
tritest. The ballad seems at best to be a late one, and is perhaps mere
imitation.”[276]
III.
It is clear that to Professor Child’s mind it was necessary that the
ballad should tell a story. “The word _ballad_ in English signifies a
narrative song, a short tale in lyric verse.”[277] Thus the English
versions of _Geordie_ (209) are said to be mere ‘goodnights,’ whereas
“the Scottish ballads have a proper story, with a beginning, middle,
and end, and (save one late copy), a good end, and they are most
certainly ... independent of the English.”[278] _Dugall Quin_ (294) is
a “little ballad, which has barely story enough to be so called.”[279]
To the “English ‘ditty’ (not a traditional ballad) ... there is very
little story.”[280]
Necessary as the story is, however, it is seldom completely told in
the ballad; something is left to the hearers’ imagination. Sometimes
the close of the story is omitted: “it is not said (except in the
spurious portions of E) that the lady was carried back by her husband,
but this may perhaps be inferred from his hanging the gypsies. In D
and K we are left uncertain as to her disposition.”[281] Transitions
are usually abrupt,--“abrupt even for a ballad” in _Willie’s Lady_ (6)
from stanza 33 to stanza 34.[282] Jamieson, in printing _The Bonny
Birdy_ (82), introduced several stanzas ‘to fill up chasms.’ “But the
chasms, such as they are, are easily leapt by the imagination, and
Jamieson’s interpolations are mere bridges of carpenter’s work.”[283]
Of _Sir Patrick Spens_ (58), “Percy’s version [A] remains, poetically,
the best. It may be a fragment, but the imagination easily supplies
all that may be wanting; and if more of the story, or the whole, be
told in H, the half is better[284] than the whole.”[285] These abrupt
transitions do not, then, result in incoherence, which accompanies
corruption and is a sign of degeneracy. Thus _The Carnal and the
Crane_ (55) “had obviously been transmitted from mouth to mouth
before it was fixed in its present incoherent and corrupted form by
print.”[286] _Young Bearwell_ (302) is “one of not a few flimsy and
unjointed ballads found in Buchan’s volumes, the like of which is
hardly to be found elsewhere.”[287] After an attempt to make the story
of _The White Fisher_ (264) hang together, Professor Child concludes:
“But we need not trouble ourselves much to make these counterfeits
reasonable. Those who utter them rely confidently upon our taking
folly and jargon as the marks of genuineness.”[288] Coherence, on the
contrary, is a characteristic of the true ballad, an important phase of
ballad excellence. “I am persuaded that there was an older and better
copy of this ballad [_Bewick and Graham_ (211)] than those which are
extant. The story is so well composed, proportion is so well kept, on
the whole, that it is reasonable to suppose that certain passages (as
stanzas 3, 4, 50) may have suffered some injury.”[289] Introductions,
not closely connected with the ballad story, are not characteristic.
“The narrator in the Ever Green poem reports at second hand: as he is
walking, he meets a man who, upon request, tells him the beginning and
the end. Both pieces have nearly the same first line. The borrowing was
more probably on the part of the ballad, for a popular ballad would be
likely to tell its tale without preliminaries.”[290]
Brevity is a characteristic of the true ballad, and it may be, in
this respect, profitably contrasted with Buchan’s versions. Version C
of _Brown Adam_ (98) “has the usual marks of Buchan’s copies, great
length, vulgarity, and such extravagance and absurdity as are found
in stanzas 23, 26, 29.”[291] “Buchan, who may generally be relied
upon to produce a longer ballad than anybody else, has ‘Young Waters’
in thirty-nine stanzas, ‘the only complete version which he had ever
met.’”[292] His version of _The Gay Goshawk_ (96, G) is “vilely dilated
and debased,”[293] and that of _Jellon Grame_ (90, C) “has nearly the
same incidents as B, diluted and vulgarized in almost twice as many
verses.”[294]
The action is seldom carefully localized: the compiler of _A Gest
of Robyn Hode_ was careless of geography.[295] The New England copy
of _Archie o Cawfield_ (188, F) “naturally enough, names no places.”
“The route in C is not described[2] there is no reason, if they start
from Cafield (see 23), why they should cross the Annan, the town being
on the eastern side. All difficulties are escaped in D by giving no
names.”[296] The attention given to the setting in some of the Robin
Hood ballads is, then, exceptional. Of _Robin Hood and the Monk_ (119),
“the landscape background of the first two stanzas has often been
praised, and its beauty will never pall. It may be called landscape
or prelude, for both eyes and ears are addressed, and several others
of these woodland ballads have a like symphony or setting: Adam Bell,
Robin Hood and the Potter, Guy of Gisborne, even the much later ballad
of The Noble Fisherman. It is to be observed that the story of the
outlaw Fulk Fitz Warine, which has other traits in common with Robin
Hood ballads, begins somewhat after the same fashion.”[297]
In dealing with the supernatural the way of the true ballad is to
omit description or explanation. In _James Harris_ (243), “to explain
the eery personality and proceedings of the ship-master, E-G, with a
sort of vulgar rationalism, turn him into the devil.... D (probably
by the fortunate accident of being a fragment) leaves us to put our
own construction upon the weird seaman; and, though it retains the
homely ship-carpenter, is on the whole the most satisfactory of all
the versions.”[298] In _Johnie Scot_ (99) “the champion is described
in A 31 as a gurious (grugous, gruous?) ghost; in H 27 as a greecy
(frightful) ghost; in L 18 he is a fearsome sight, with three women’s
spans between his brows and three yards between his shoulders; in the
Abbotsford copy of A, 29, 30, a grisly sight, with a span between
his eyes, between his shoulders three and three, and Johnie scarcely
reaching his knee. These points are probably taken from another and
later ballad, which is perhaps an imitation, and might almost be called
a parody, of Johnie Soot.”[299] Ghosts, though not thought sufficiently
strange to demand special treatment, should, nevertheless, “have a
fair reason for walking.... In popular fictions, the motive for their
leaving the grave is to ask back plighted troth, to be relieved from
the inconveniences caused by the excessive grief of the living, to put
a stop to the abuse of children by stepmothers, to repair an injustice
done in the flesh, to fulfil a promise; at the least, to announce the
visitant’s death.”[300]
Turning now from technique,--from treatment of plot, of setting, of
the supernatural,--to style in the narrower sense, we find that the
comments are again largely in the way of pointing out flaws, or traits
which are not characteristic of the true ballad, and which are due to
the peculiar conditions of ballad transmission. From such negative
comments may be inferred, again, the stylistic marks of the true
ballad. Thus, in the first place, ballad style is artless and homely.
In _Andrew Lammie_ (233):
Her bloom was like the springing flower
That hails the rosy morning,
With innocence and graceful mein
Her beauteous form adorning.
and
‘No kind of vice eer staind my life,
Or hurt my virgin honour;
My youthful heart was won by love,
But death will me exoner’ (C, 2, 42).
are “not homely enough.”[301] Moreover,
‘At Fyvie’s yetts there grows a flower,
It grows baith braid and bonny;
There’s a daisie in the midst o it,
And it’s ca’d by Andrew Lammie’ (A, 1.).
“the mystical verses with which A and B begin are also not quite
artless.”[302] The ninth stanza of _The New-Slain Knight_ (263) “is
pretty, but not quite artless.”[303] In the true ballad the conceit is
out of place. Scott’s version (C) of _Thomas Rymer_ (37) closes with
two satirical stanzas not popular in style. “‘The repugnance of Thomas
to be debarred the use of falsehood when he should find it convenient,’
may have, as Scott says, ‘a comic effect,’ but is, for a ballad, a
miserable conceit.”[304] In _The Mother’s Malison_ (216), A 8^{1-2}, C
10^{1-2},
Make me your wrack as I come back,
But spare me as I go,
the conceit (from Martial) “does not overwell suit a popular
ballad.”[305] The literary manner is thus to be contrasted with the
popular. In _Edward_ (13) “the word ‘brand,’ in the first stanza, is
possibly more literary than popular; further than this the language is
entirely fit.”[306] Of _Earl Brand_ (7) “A a has suffered less from
literary revision than ... A c.”[307] This revision may be illustrated
by the following stanza:
To a maiden true he’ll give his hand,
To the king’s daughter o fair England,
To a prize that was won by a slain brother’s hand,
which c substitutes for a 32:
This has not been the death o ane,
But it’s been that of fair seventeen.
version from the English border, has unfortunately been improved
by some literary pen.”[308] These improvements consist in part of
descriptions of the lady’s states of mind;[309] for example:@
To think of the prisoner her heart was sore,
Her love it was much but her pity was more.
The words that he said on her fond heart smote,
She knew not in sooth if she lived or not.
She looked to his face, and it kythed so unkind
That her fast coming tears soon rendered her blind.
(Sts. 3, 9, 10.)
_Jamie Telfer_ (190) “was retouched for the Border Minstrelsy, nobody
can say how much. The 36th stanza is in Hardyknute style.”[310]
Of _Hughie Grame_ (191), B, 3, 8, “are obviously, as Cromek says, the
work of Burns, and the same is true of 10^{3-4}.”[311] _The Famous
Flower of Serving-Men_ (106), an “English broadside, which may be
reasonably believed to be formed upon a predecessor in the popular
style,[312] was given in Percy’s _Reliques_, ..., ‘from a written copy
containing some improvements (perhaps modern ones).’ These improvements
are execrable in style and in matter, so far as there is new matter,
but not in so glaring contrast with the groundwork as literary
emendations of traditional ballads.”[313] Such contrast is found in
the “hack-rhymester lines” in _Bewick and Graham_ (211, 7^3, 19^2),
which are “not up to the mark of the general style.”[314] Similarly,
_King Henry_ (32) “as published by Jamieson ... is increased by
interpolation to thirty-four stanzas [from twenty]. ‘The interpolations
will be found enclosed in brackets,’ but a painful contrast of style
of itself distinguishes them.”[315] Editorial changes are, however, in
some cases confined to slight verbal variations, where the contrast is
less evident or painful.[316]
Yet, in spite of its artless, homely, and non-literary style, the
ballad is not without conventions of its own. Most striking of these is
the use of “commonplaces” or passages which recur in many ballads, like:
When bells were rung and mass was sung,
And a’ men bound to bed;
or,
O whan he came to broken briggs
He bent his bow and swam,
An whan he came to the green grass growin
He slackd his shoone and ran.[317]
Another convention is the complete repetition of the message by the
messenger. Thus in _Fair Mary of Wallington_ (91, A) “the stanza
which should convey ... part of the message is wanting, but may be
confidently supplied from the errand-boy’s repetition.”[318] Another
form of repetition occurs in the narration of similar incidents by
different ballads. “There is a general resemblance between the rescue
of Robin Hood in stanzas 61-81 and that of William of Cloudesly in Adam
Bell, 56-94, and the precaution suggested by Much in the eighth stanza
corresponds to the warning given by Adam in the eighth stanza of the
other ballad. There is a verbal agreement in stanzas 71 of the first
and 66 of the second. Such agreements or repetitions are numerous in
the Robin Hood ballads, and in other traditional ballads, where similar
situations occur.”[319]
In the course of degeneration, ballads retain, but distort, the
commonplace. Thus in _Lord Thomas and Lady Margaret_ (261) “B 14^{3, 4}
is a commonplace, which, in inferior traditional ballads, is often, as
here, an out-of-place. B 15, 16 is another commonplace, of the silly
sort.”[320] “Hacknied commonplaces” occur in _Auld Matrons_ (249),
stanzas 2-5;[321] “frippery commonplaces,” in _The White Fisher_ (264),
stanzas 2, 7, 8, 12.[322]
Turning now to the emotional qualities of ballad style, we find that
the ghost ballad, in spite (or perhaps because) of the absence of
special treatment noted above, is, at its best, “impressive.” The
scene at the grave in _Sweet William’s Ghost_ (77 C 11-13) “may be
judged grotesque, but is not trivial or unimpressive. These verses
may be supposed not to have belonged to the earliest form of the
ballad, and one does not miss them from A, but they cannot be an
accretion of modern date.”[323] In _The Wife of Usher’s Well_ (79)
“there is no indication that the sons come back to forbid obstinate
grief, as the dead often do. But supplying a motive would add nothing
to the impressiveness of these verses. Nothing that we have is more
profoundly affecting.”[324] _The Suffolk Miracle_ (272) is to be
contrasted with the continental versions, “one of the most remarkable
tales and one of the most impressive and beautiful ballads of the
European continent.”[325] _Bewick and Graham_ (211), in spite of
certain defects, “is a fine-spirited ballad as it stands, and very
infectious.”[326] _Walter Lesly_ (296) is “a late, but life-like
and spirited ballad.”[327] _The Wee Wee Man_ (38) is an “extremely
airy and sparkling little ballad.”[328] _Andrew Lammie_ (233) “is
a homely ditty, but the gentleness and fidelity of Annie under the
brutal behavior of her family are genuinely pathetic, and justify the
remarkable popularity which the ballad has enjoyed in the north of
Scotland.”[329] Contrasted with the cynical _Twa Corbies_ of Scott’s
Minstrelsy is _The Three Ravens_ (26), a “tender little English
ballad.”[330] In the _Gest_: “Nothing was ever more felicitously told,
even in the best _dit_ or _fabliau_, than the ‘process’ of Our Lady’s
repaying the money which had been lent on her security. Robin’s slyly
significant welcome to the monk upon learning that he is of Saint Mary
Abbey, his professed anxiety that Our Lady is wroth with him because
she has not sent him his pay, John’s comfortable suggestion that
perhaps the monk has brought it, Robin’s incidental explanation of the
little business in which the Virgin was a party, and request to see the
silver in case the monk has come upon her affair, are beautiful touches
of humor, and so delicate that it is all but brutal to point them
out.”[331] The tales which are cited as parallels to _Queen Eleanor’s
Confession_ (156) all “have the cynical Oriental character, and, to a
healthy taste, are far surpassed by the innocuous humor of the English
ballad.”[332] While we need not question the substantial genuineness of
_Fause Foodrage_ (89), “we must admit that the form in which we have
received it is an enfeebled one, without much flavor or color.”[333]
_The Suffolk Miracle_ (272) preserves the story only in a “blurred,
enfeebled, and disfigured shape.”[334] Version B of the _Cheviot_ (162)
is “very seriously enfeebled.”[335]
The lyrical quality,--the fact that the ballad was made to be
sung,--must not be lost sight of. “Fair Annie’s fortunes have not only
been charmingly sung, as here [in the ballad of _Fair Annie_ (62)];
they have also been exquisitely _told_ in a favorite lay of Marie
de France.”[336] The superior lyrical quality of _The Bonny Birdy_
(82) “makes up for its inferiority [to _Little Musgrave_ (81)] as a
story, so that on the whole it cannot be prized much lower than the
noble English ballad.”[337] Thus lyrical quality is to be regarded
as no less significant than plot as a trait of the true ballad. _The
Queen of Elfan’s Nourice_ (40), “after the nature of the best popular
ballad, forces you to chant and will not be read.”[338] Even _The Jolly
Pindar of Wakefield_, (124) “is thoroughly lyrical, ... and was pretty
well sung to pieces before it ever was printed.”[339] “It is not ...
always easy to say whether an isolated stanza belonged to a ballad or
a song;”[340] and Professor Child speaks even of the whole of _Bessy
Bell and Mary Gray_ (201) as “this little ballad, or song.”[341] Of
_Lord Lovel_ (75) he says: “It can scarcely be too often repeated
that such ballads as this were meant only to be sung, not at all to
be recited.... ‘Lord Lovel’ is especially one of those which, for
their due effect, require the support of a melody, and almost equally
the comment of a burden. No burden is preserved in the case of ‘Lord
Lovel,’ but we are not to infer that there never was one. The burden,
which is at least as important as the instrumental accompaniment
of modern songs, sometimes, in these little tragedies, foreshadows
calamity from the outset, sometimes ... is a cheerful-sounding formula,
which in the upshot enhances by contrast the gloom of the conclusion.
‘A simple but life-like story, supported by the burden and the air,
these are the means by which such old romances seek to produce an
impression.’”[342] _The Elfin Knight_ (2 A) “is the only example, so
far as I remember, which our ballads afford of a burden of this kind,
one that is of greater extent than the stanza with which it was sung,
though this kind of burden seems to have been common enough with old
songs and carols.”[343]
IV.
_The English and Scottish Popular Ballads_ of 1882-1898 has naturally
superseded the _English and Scottish Ballads_ of 1857-1859, and
Professor Child himself shared the general tendency to underestimate
the real value of the earlier collection. It was of course made on a
different plan; its limits were not so clearly defined, and it did
not attempt to give every version of every known ballad. Many of
the sources, moreover, were not yet open. One is, then, surprised
to find that, of the three hundred and five ballads printed in the
later collection, only ninety are new; and these are, for the most
part, unimportant additions to the body of ballad literature. They
are distributed as follows: 15 in volume I, 16 in II, 11 in III, 25
in IV, 23 in V. Thus 59 of the 90 occur in the last three volumes;
of these there is not one of first importance. Of the remaining
31 not more than 10 can be regarded as really valuable additions,
though such an estimate must of necessity be based more or less upon
personal impression. Some of these were already accessible, in Buchan’s
versions, or elsewhere: _Willie’s Lyke-Wake_ (25), _Lizie Wan_ (51),
_The King’s Dochter Lady Jean_ (52), _Brown Robyn’s Confession_
(57), _Fair Mary of Wallington_(91). These, doubtless, were omitted
because of the nature of their subject-matter; it was only in the
later collection that Professor Child “had no discretion.”[344] Other
important ballads were not yet accessible, or not yet discovered:
_St. Stephen and Herod_ (22), _The Laily Worm and the Machrel of the
Sea_ (36), _The Queen of Elfan’s Nourice_ (40), _The Unquiet Grave_
(78), _The Great Silkie of Sule Skerry_ (113). Of the ten, only four
are included in Professor Gummere’s collection. The main addition
of the later collection is thus rather in the way of new versions
of important ballads, or of more authentic versions based directly
upon the manuscripts; in the citation of a larger number of foreign
parallels; and, generally, in the matter contained in the introductions.
The _Ballads_ contained 115 pieces which do not appear in the later
collection. The nature of such material, since it is excluded from the
“complete” _English and Scottish Popular Ballads_, is significant as
throwing some additional light upon Professor Child’s conception. In
many cases the reason for exclusion is made clear by Professor Child
himself, in comments in the earlier or in the later collection. Of the
whole group of lays and romances contained in Book I of the _Ballads_,
he says: “Some of the longer pieces in this book are not of the nature
of ballads, and require an apology. They were admitted before the
limits of the work had been determined with exactness.”[345] If such
pieces as these do not fulfil the lyrical requirement of the true
ballad, others cannot fulfil the requirement of plot, and the songs, of
the _Ballads_, like _A Lyke Wake Dirge_, _Fair Helen of Kirconnel_, or
_The Lowlands of Holland_[346] find no place in the later collection.
The _Ballads_ contains also translations from the Danish, and the
original and translation of a modern Greek parallel of the Lenore
story; these are naturally not included in _The English and Scottish
Popular Ballads_.
The later collection is much more chary of the admission of broadsides
or sheet-ballads: in many cases they are relegated to introductions
or appendices; in many more, omitted. _William Guiseman_ is cited
merely, under _Brown Robin’s Confession_ (57), as “a copy, improved by
tradition, of the ‘lament’ in ‘William Grismond’s Downfal,’ a broadside
of 1650.”[347] _The Lament of the Border Widow_, which occurs in Book
VI of the _Ballads_, “shows broader traces of the sheet-ballad,”
and is quoted in the introduction to No 106 for “those who are
interested in such random inventions (as, under pardon, they must be
called).”[348] Of _The Lady Isabella’s Tragedy_ Professor Child says in
the later collection: “Though perhaps absolutely the silliest ballad
that ever was made, and very far from silly sooth, the broadside was
traditionally propagated in Scotland without so much change as is usual
in such cases.”[349] Even in the _Ballads_ one finds this comment:
“The three following pieces [_The Spanish Virgin_, _Lady Isabella’s
Tragedy_, _The Cruel Black_] are here inserted merely as specimens
of a class of tales, horrible in their incidents but feeble in their
execution, of which whole dreary volumes were printed and read about
two centuries ago. They were all of them, probably, founded on Italian
novels.”[350] Although the _Ballads_ includes _Macpherson’s Rant_, it
is declared “worthy of a hangman’s pen.”[351] A number of tales which
employ a highly artificial stanza, such as _The Fray of Suport_, _The
Raid of the Reidswire_, or _The Flemish Insurrection_, do not find
their way into the later collection.
Traces of the modern editor or author become less common in the later
collection. Versions “modernized and completed by Percy” (Book I, Nos.
1 b and 5 b) are excluded. The cynical _Twa Corbies_ appears only in
the introduction to _The Three Ravens_; and Motherwell’s edition,
declared already in the _Ballads_ to be a “modernized version,”[352]
does not appear at all. Motherwell’s _Bonnie_ _George Campbell_
suffers a like fate, and this, we infer, because “Motherwell made up
his ‘Bonnie George Campbell’ from B, C, D.”[353] As, no doubt, not
merely modernized but modern, _Sir Roland_ is excluded. “This fragment,
Motherwell tells us, was communicated to him by an ingenious friend,
who remembered having heard it sung in his youth. He does not vouch
for its antiquity, and we have little or no hesitation in pronouncing
it a modern composition.”[354] Similarly, _Lady Anne_ “is on the face
of it a modern composition, with extensive variations, on the theme of
the popular ballad.”[355] It is printed in the appendix to No 20. _Earl
Richard_ is “an entirely modern composition, excepting only the twenty
lines of Herd’s fragment.”[356] Of _Auld Maitland_ Professor Child
says: “Notwithstanding the authority of Scott and Leyden, I am inclined
to agree with Mr Aytoun, that this ballad is a modern imitation, or if
not that, a comparatively recent composition. It is with reluctance
that I make for it the room it requires.”[357] The essential anonymity
of the ballad, in Professor Child’s final conception, naturally
excludes pieces like Henryson’s _Robene and Makyne_ and _The Bludy
Serk_, which had found their way into the _Ballads_.[358]
There are but few instances of definite praise, as ballads, of pieces
included in the earlier collection and excluded from the later. _The
Children in the Wood_ is said to be “perhaps the most popular of all
English ballads. Its merit is attested by the favor it has enjoyed with
so many generations, and was vindicated to a cold and artificial age
by the kindly pen of Addison.”[359] We must not forget, however, that
Professor Child was fifty years nearer the kindly pen of Addison. The
cold and artificial age, moreover, was also sentimental and moral; and
why, with it, this ballad was so popular, a single stanza will show:
You that executors be made,
And overseers eke
Of children that be fatherless,
And infants mild and meek;
Take you example by this thing,
And yield to each his right,
Lest God with such like miserye
Your wicked minds requite (vv. 153 ff.).
_The Blind Beggar’s Daughter of Bednall’s Green_ is said to be printed
from a modern broadside, yet it is characterized as “this favorite
popular ballad.”[360] _The Nutbrowne Maid_ is “this matchless poem,”
“this beautiful old ballad.”[361] Yet, clearly, it is not a popular
ballad at all.
On the whole, it is not difficult to see why the 115 ballads are
excluded from the later collection; and one gets the impression that,
had Professor Child chosen to enforce the conception of the ballad
which he already had in mind, most of them would have been excluded
from the earlier collection as well. This impression is deepened by an
examination of the comments scattered through the _Ballads_.
He already regarded the ballad as inimitable:[362] “The exclusion
of the ‘Imitations’ ... may possibly excite the regret of a few....
Whatever may be the merit of the productions in question, they are
never less likely to obtain credit for it, than when they are brought
into comparison with their professed models.”[363] Again, _Sir Patrick
Spence_, “if not ancient, has been always accepted as such by the
most skilful judges, and is a solitary instance of a successful
imitation, in manner and spirit, of the best specimens of authentic
minstrelsy.”[364]
Professor Child had already fallen foul of the editors, and their
alterations and interpolations.[365] It is interesting to see how, in
many cases, he anticipated the corrections and comments made possible,
for the later collection, by access to the manuscripts. Of _The Child
of Elle_ he says: “So extensive are Percy’s alterations and additions,
that the reader will have no slight difficulty in detecting the few
traces that are left of the genuine composition.”[366] Compare: “So
much of Percy’s ‘Child of Elle’ as was genuine, which, upon the
printing of his manuscript, turned out to be one fifth.”[367] Again,
Percy acknowledges interpolations, which “might with some confidence
be pointed out. Among them are certainly most, if not all, of the
last twelve stanzas of the Second Part, which include the catastrophe
to the story.”[368] In Percy, he says in the later collection, _Sir
Cawline_ “is extended to nearly twice the amount of what is found in
the manuscript, and a tragical turn is forced upon the story.”[369]
Again: “We have given _Gil Morrice_ as it stands in the _Reliques_
(iii. 132,) degrading to the margin those stanzas which are undoubtedly
spurious.”[370] The stanzas thus degraded turned out to be actually
spurious.[371] Condemnation of Buchan is scattered throughout the
_Ballads_. Thus: “Some resolution has been exercised, and much disgust
suppressed, in retaining certain pieces from Buchan’s collections, so
strong is the suspicion that, after having been procured from very
inferior sources, they were tampered with by the editor.”[372] Again:
“One uncommonly tasteless stanza [41, A, 53], the interpolation of some
nursery-maid,[373] is here omitted. Too many of Buchan’s ballads have
suffered in this way, and have become both prolix and vulgar.”[374]
Even in the _Ballads_ Professor Child placed “no confidence in any
of Allan Cunningham’s _souvenirs_ of Scottish song,”[375] and his
early suspicions[376] of the character of Cunningham’s version of Gil
Brenton are confirmed in the later collection.[377] _King Henry_,
printed in the earlier collection “without the editor’s [Jamieson’s]
interpolations,”[378] appears in the same form in the later, except
that stanza 14 is printed in small type, as not being in the
Jamieson-Brown MS. Again, in _The Bonny Birdy_, “the lines supplied by
Jamieson have been omitted.”[379] There is an interesting comment on
these lines in the later collection.[380]
Professor Child was already aware that change of nationality was
accompanied by change of the scene of action.[381] He quoted Scott’s
account of the locality of _The Douglas Tragedy_ [==_Earl Brand_ (7,
B)], and added: “After so circumstantial a description of the scene,
... the reader may be amused to see the same story told in various
Scandinavian ballads, with a no less plausible resemblance to actual
history. This, as has already been pointed out under _Guy of Warwick_
and _Kempion_,[382] is an ordinary occurrence in the transmission of
legends.”[383]
He noted, too, the tendency of ballads to combine: “The natural desire
of men to hear more of characters in whom they have become strongly
interested, has frequently stimulated the attempt to continue
successful fictions.”[384] _Sweet William’s Ghost_ is often made the
sequel to other ballads.[385]
So far as subject-matter is concerned, we find in the _Ballads_ the
same conception of the relation of ballad and fact. _Jane Shore_
“adheres to matter of fact with a fidelity very uncommon,”[386] and
this is, perhaps, one reason why it does not find a place in the
later collection.[387] We may contrast, on the other hand, the two
statements in regard to the relation of _Hind Horn_ and the romance:
“Metrical romances ... are known in many cases to have been adapted
for the entertainment of humbler hearers, by abridgment in the form of
ballads.” He regards _Hind Horn_ as a case of this sort.[388]
Style and plot, finally, are a test of genuineness: “I cannot assent to
the praise bestowed by Scott on _The Outlaw Murray_. The story lacks
point and the style is affected--not that of the unconscious poet of
the real _traditional_ ballad.”[389] Though there without comment, it
is placed at the very end of the later collection.
From a comment like this it is obvious that Professor Child already had
in mind the conception of “a real _traditional_ ballad,” a “specimen
of authentic minstrelsy.”[390] Although he admitted to the earlier
collection lays, romances, songs, broadsides and sheet-ballads, as
well as modern or modernized compositions, yet he was aware that all
these differed from the true ballad. This true ballad, he conceived,
was inimitable, in matter and manner. In transmission it might suffer,
from the invention of a nursery-maid, from Buchan’s beggar, from a
“hangman’s pen,” from the modern editors. It drew its subject-matter
from fact (to which it was not loyal), from romances, from other
ballads. In quality the subject-matter was not “horrible.” In style
the true ballad was not feeble in execution, not prolix and vulgar,
and not affected. The earlier conception was not as complete as the
later, and it was by no means so rigorously enforced. In regard to
specific compositions, there was, as is to be expected, some change
of opinion. But the significant fact is that for at least forty years
Professor Child retained without essential change his conception of the
traditional ballad as a distinct literary type.
V.
We may now bring together the passages in which Professor Child
declared certain ballads to be of the true “popular” or “traditional”
type. The fewness of such passages is at first surprising, yet it
clearly formed no part of a set purpose to include in his introductions
estimates of this kind, and such “appreciations” seem to have been
either spontaneous,--springing, as in the case of _Johnie Cock_, from
his delight in the ballad with which he was concerned,--or intended,
as in the case of _Edward_, as answer to his predecessors’ doubts of
authenticity. On ballads like _Lord Randal_, _Babylon_, _Hind Horn_,
_Clerk Saunders_, _Fair Margaret and Sweet William_, there is no such
comment. It would seem, no doubt, in such cases obviously unnecessary.
Nevertheless the list is fairly representative. We have examples of
the Domestic Ballad,--tragic, in _Earl Brand_ (7), _Edward_ (13), _Old
Robin of Portingale_ (80), _Little Musgrave_ (81), _The Bonny Birdy_
(82); not tragic, in _Child Waters_ (63), _Young Beichan_ (53), _Queen
Eleanor’s Confession_ (156): we have examples of the Supernatural
Ballad,--transformation, in _The Laily Worm and the Machrel of the Sea_
(36); fairy, in _Thomas Rymer_ (37); ghost, in _The Wife_ _of Usher’s
Well_ (79): we have examples of the Border Ballad in _Captain Car_ (178
F) and _Jock o the Side_ (187): of the Outlaw Ballad in _Johnie Cock_
(114), the Robin Hood ballads, 117-121: of the Heroic Ballad in _King
Estmere_ (60), _Sir Aldingar_ (59), _Sir Patrick Spens_ (58 A).
_Johnie Cock_ (114): “This precious specimen of the unspoiled
traditional ballad.” III, 1.
_Edward_ (13): “The word ‘brand,’ in the first stanza, is possibly
more literary than popular; further than this the language is entirely
fit. The affectedly antique spelling in Percy’s copy has given rise to
vague suspicions concerning the authenticity of the ballad, or of the
language: but as spelling will not make an old ballad, so it will not
unmake one. We have, but do not need, the later traditional copy to
prove the other genuine. ‘Edward’ is not only unimpeachable, but has
ever been regarded as one of the noblest and most sterling specimens
of the popular ballad.” I, 167.
_The Laily Worm and the Machrel of the Sea_ (36): “Somewhat mutilated,
and also defaced, though it be, this ballad has certainly never been
retouched by a pen, but is pure tradition. It has the first stanza
in common with ‘Kemp Owyne,’ and shares more than that with ‘Allison
Gross.’ But it is independent of ‘Allison Gross,’ and has a far more
original sound.” I, 315.
_Earl Brand_ (7): ... “has preserved most of the incidents of a very
ancient story with a faithfulness unequalled by any ballad that has
been recovered from English oral tradition.” I, 88.
_The Wife of Usher’s Well_ (79): “A motive for the return of the
wife’s three sons is not found in the fragments which remain to us....
But supplying a motive would add nothing to the impressiveness of
these verses. Nothing that we have is more profoundly affecting.” II,
238.
_Thomas Rymer_ (37): “B ... has been corrupted here and there, but
only by tradition.” I, 317.
“The fairy adventures of Thomas and of Ogier have the essential points
in common, and even the particular trait that the fairy is taken to be
the Virgin. The occurrence of this trait again in the ballad, viewed
in connection with the general similarity of the two, will leave no
doubt that the ballad had its source in the romance. Yet it is an
entirely popular ballad as to style,[391] and must be of considerable
age, though the earliest version (A) can be traced at furthest only
into the first half of the last century.” I, 319 f.
_Captain Car_ (178): “F is purely traditional and has one fine stanza
not found in any of the foregoing:@
Out then spake the lady Margaret,
As she stood on the stair;
The fire was at her goud garters,
The lowe was at her hair.” III, 429.@
_Queen Eleanor’s Confession_ (156): “There is reason to question
whether this [F] and the other recited versions are anything more than
traditional variations of printed copies. The ballad seems first to
have got into print in the latter part of the seventeenth century, but
was no doubt circulating orally sometime before that, for it is in the
truly popular tone.” III, 255.
_Robin Hood and the Tanner_ (126): “The sturdy Arthur a Bland is well
hit off, and, bating the sixteenth and thirty-fifth stanzas, the
ballad has a good popular ring. There is corruption at 8^3, 12^3, and
perhaps 13^3.” III, 137.
The earliest Robin Hood ballads (117-121) “are among the best of all
ballads, and perhaps none in English please so many and please so
long.” III, 42.
_Robin Hood and the Monk_ (119): “Too much could not be said in praise
of this ballad, but nothing need be said. It is very perfection in its
kind; and yet we have others equally good, and beyond doubt should
have had more, if they had been written down early, as this was, and
had not been left to the chances of tradition. Even writing would not
have saved all, but writing has saved this (in large part), and in
excellent form.” III, 95.
_Child Waters_ (63): “This charming ballad, which has perhaps no
superior in English, and if not in English perhaps nowhere.” II, 84.
(“Caution is imperative where so much ground is covered, and no man
should be confident that he can do absolute justice to poetry in a
tongue that he was not born to; but foreign poetry is as likely to be
rated too high as to be undervalued.” II, 84, n.)
_Jock o the Side_ (187): “The ballad is one of the best in the world,
and enough to make a horse-trooper of any young borderer, had he
lacked the impulse.” III, 477.
_Sir Patrick Spens_ (58, A): “This admired and most admirable ballad.”
“It would be hard to point out in ballad poetry, or other, happier
or more refined touches than the two stanzas in A which portray the
bootless waiting of the ladies for the return of the seafarers.” II,
17 f.[392]
_Young Beichan_ (53): “A favorite ballad and most deservedly.” I, 455.
_King Estmere_ (60): “While we cannot but be vexed that so
distinguished a ballad, not injured much, so far as we can see, by
time, should not come down to us as it came to Percy, our loss must
not be exaggerated. The changes made by the editor, numerous enough,
no doubt, cannot be very material until we approach the end. Stanzas
63-66 are entirely suspicious, and it may even be questioned whether
the manuscript contained a word that is in them.” II, 49.
_Little Musgrave and Lady Barnard_ (81): “The noble English ballad.”
II, 260.
_The Bonny Birdy_ (82): “A fine ballad upon the same theme.” II, 243.
_Old Robin of Portingale_ (80): “This fine ballad.” II, 240.
_Sir Aldingar_ (69): “This ballad, one of the most important of all
that the Percy manuscript has saved from oblivion.” II, 33.
_Robin Hood’s Death_ (120): “B, though found only in late garlands, is
in the fine old strain.” III, 103.
Certain ballads are expressly condemned as not “traditional” or
“popular”:
_Robin Hood Rescuing Will Stutly_ (141): “This is a ballad made for
print, with little of the traditional in the matter and nothing in the
style. It may be considered as an imitation of the Rescue of the Three
Squires.” III, 185.
_Robin Hood’s Birth, Breeding, etc._ (149): “The jocular author of
this ballad, who would certainly have been diverted by any one’s
supposing him to write under the restraints of tradition....” III, 214.
_The Lovely Northerne Lasse_ (217, Appendix): “There is an English
‘ditty’ (not a traditional ballad) ... which was printed in the first
half of the seventeenth century. It is here given in an appendix.” IV,
192.
To these may be added a few examples of less specific condemnation:
_The Earl of Mar’s Daughter_ (270): A Scandinavian ballad and this
“are, perhaps, on a par, for barrenness and folly, but the former may
claim some age and vogue, the Scottish ballad neither.” V, 39.
_The Drunkard’s Legacy_ (267, Appendix): “The modern ballad ... used
by Percy was ‘The Drunkard’s Legacy,’ an inexpressibly pitiable
ditty.” V, 12.
_John Thomson and the Turk_ (266): “This ridiculous ballad.” V, 1.
_Robin Hood and the Tinker_ (127): “The fewest words will best befit
this contemptible imitation of imitations.” III, 140.
_Robin Hood and Maid Marian_ (150): “This foolish ditty.” III, 218.
_Robin Hood and the Valiant Knight_ (153): “Written, perhaps, because
it was thought that authority should in the end be vindicated against
outlaws, which may explain why this piece surpasses in platitude
everything that goes before.” III, 225.
_The Suffolk Miracle_ (272): “This piece could not be admitted here on
its own merits. At the first look, it would be classed with the vulgar
prodigies printed for hawkers to sell and for Mopsa and Dorcas to buy.
It is not even a good specimen of its kind.” V, 58.
We may add from the _Ballads_ half-a-dozen examples of specific praise:
_The Lass of Lochroyan_ [76, D][393]: “This beautiful piece.”
_Ballads_, II, 98.
_The Queen’s Marie_ [173, I]: “Jamieson and Kinloch have each
published a highly dramatic fragment of this terrible story.”
_Ballads_, III, 107.
_The Lochmaben Harper_ [192, A]: “This fine old ballad ... has the
genuine ring of the best days of minstrelsy. On account of its
excellence, we give two versions.” _Ballads_, VI, 3.
_Earl Richard_ [68, J]: “This gloomy and impressive romance.”
_Ballads_, III, 3.
_Chevy-Chace_ [162, A]: “Addison’s papers in the _Spectator_ ...
evince so true a perception of the merits of this ballad [162, B],
shorn as it is of the most striking beauties of the grand original,
that we cannot but deeply regret his never having seen the ancient
and genuine copy (‘The noble ballad,’ 162, A; _Ballads_, VII, 27),
which was published by Hearne only a few days after Addison died.”
_Ballads_, VII, 43.
_Sir Andrew Barton_ [167, A]: “This noble ballad.” _Ballads_, VII, 56.
_Sir Patrick Spence_ [58, A]: “If not ancient, has been always
accepted as such by the most skilful judges, and is a solitary
instance of a successful imitation, in manner and spirit, of the best
specimens of authentic minstrelsy.” _Ballads_, III, 149.
VI.
We are now in position to attempt a summary of Professor Child’s
conception of the popular ballad. He regarded it as a distinct species
of poetry, which precedes the poetry of art, as the product of a
homogeneous people, the expression of our common human nature, of the
mind and heart of the people, never of the personality of an individual
man, devoid, therefore, of all subjectivity and self-consciousness.
Hence the author counts for nothing; hence, too, the ballad is
difficult to imitate and most attempts in this way are ridiculous
failures. In transmission the ballad regularly departs from the
original form, least in the mouths of unlearned people, more in the
hands of professional singers or editors. It is at its best when it has
come down by a purely domestic tradition, yet even so it is sometimes
influenced by printed literature; and much depends on the experience
and selection of the reciters, and on their varying memory, which is,
however, ordinarily remarkable for its tenacity. Less fortunate is the
ballad when it passes through low mouths or hands, suffering corruption
of various kinds,--in the style of the attorney’s clerk, or the
housemaid or the serving-man, or ostler, or blind beggar. In the hands
of the _bänkelsänger_ or of the minstrel, the ballad departs still
further from its original form. Or, rewritten for the broadside press,
it is seriously enfeebled, or retrenched and marred, though it may
retain some original features, and there are thus degrees of departure
from the original matter and manner. The broadside may, in turn, become
tradition. It is, so far as it appears in Professor Child’s later
collection, always founded on tradition, and this tradition lives after
the composition of the broadside, and may influence the later versions
of the printed form. Last comes the modern editor, and by him the
ballad is sometimes lengthened,--by combination of different versions,
by interpolation of new stanzas, always more or less unlike the popular
style; or it is sometimes “improved,” or retouched, or emended, or
altered,--changed to something in glaring contrast to the groundwork.
Some results of the vicissitudes of transmission are, the change of
the hero’s nationality, of his name, of his rôle; change of the scene
of action; corruption of diction resulting in perversion of sense or
in nonsense; introduction of learned words. The ballad thus suffers in
transmission, and is at its best when it is early caught and fixed in
print. It is sometimes counterfeited or imitated, and counterfeits are
included in the later collection for contrast, for much the same reason
that thieves are photographed, or because they may contain relics of
something genuine or better.
Of the Subject-Matter of the ballad, the sources may be, and in
the best instances are, purely popular, consisting of material
which appears only in popular literature. Professor Child mentions
no instance where a prose tale is the source of a ballad, but the
ballad, he says, may sometimes be resolved into a prose tale. Popular
origin is attested by foreign parallels in folk-literature. Of such
literature certain features or themes are characteristic, such as the
quibbling oath, the miraculous harvest, the childbirth in the wood,
the testament, the riddle, heroic sentiment, etc. The source may,
again, be an actual occurrence, in which case the ballad, while not
deliberate fiction, is yet not loyal to the fact. Or the source may be
a romance, or the source of a romance, in which case oral tradition may
be older than written, the ballad older than the romance. Or the source
may be earlier ballads, mechanically and deliberately put together in
later ones, made over and assimilated in the _Gest of Robin Hood_.
In the course of transmission certain features appear which are not
characteristic of popular literature; the subject-matter of the true
ballad does not deal in extravagance, or exaggeration, or platitude;
it is not prosaic, over-refined, cynical, sophisticated, sentimental,
unnatural, trite, or moral, though the “pungent buckishness” of the
broadside, and the gay cynicism of the minstrel, are foreign to it.
So far as Technique is concerned, the ballad must have plot. The story
may not be completely told; conclusion, transitions, and preliminaries
may be omitted; but the result is not nonsense, the ballad is not
incoherent. At its best it is, however, brief. It is careless of
geography, and, except in some,--and some of the best,--of the
Robin Hood ballads, it touches Setting lightly. In dealing with the
Supernatural it does not attempt to explain the action or to describe
supernatural figures; ghosts, however, do not walk without reason.
In Style the ballad is artless and homely, and in it the conceit,
and literary or learned words and phrases, are out of place. Yet it
has certain conventions of its own, such as the “commonplace,” the
repetition of a message by a messenger, the verbally similar treatment
of similar incidents as they occur in different ballads. Emotionally,
the ghost ballad is impressive and affecting; and, in general, the
ballad may be infectious, or spirited and life-like, or pathetic, or
tender, or humorous, or vigorous and not lacking in color or flavor. It
is essentially lyrical, and its lyrical quality is not less essential
than plot. Often it absolutely requires the support of a melody and the
comment of a burden. This burden sometimes foreshadows the calamity,
sometimes enhances by contrast the gloom of the conclusion. It is
usually less than the stanza with which it was sung; and, unlike
the refrain, it was sung, not after the stanza, but with it. It is
sometimes of different metre, sometimes not. The absence of the burden
is in no case proof that it never existed. never existed.
Walter Morris Hart.
FOOTNOTES:
[134] _Modern Philology_, I, 377 f.
[135] Professor Gummere in _Modern Philology_, I, 378.
[136] III, 303.
[137] II, 136.
[138] I, vii.
[139] II, 296.
[140] II, 263. An old woman (the reciter of E) knew _Chield Morice_
as a child, but later learned _Gil Morice_ which began to be more
fashionable. II, 264.
[141] II, 464, n.
[142] V, 178.
[143] I, 119.
[144] IV, 231.
[145] I, 89. See also the comment on Apollodorus and the Cretan
fairy-tale, I, 337, quoted, p. 774, below.
[146] II, 346.
[147] I, 435.
[148] Quoted, III, 254.
[149] I, 360.
[150] II, 173.
[151] II, 170.
[152] II, 368.
[153] IV, 255, n.
[154] IV, 255.
[155] IV, 256. Cf. B 10, D 10, E 19; F 11; E 10, F 6.
[156] II, 441.
[157] IV, 144.
[158] I, 391.
[159] I, 34.
[160] I, 257.
[161] II, 478.
[162] Cf. I, 444 f.
[163] III, 403.
[164] III, 410.
[165] II, 441.
[166] III, 305.
[167] III, 334.
[168] III, 334, n.
[169] V, 21.
[170] I, 404.
[171] I, 455.
[172] I, 391.
[173] II, 180.
[174] II, 424.
[175] II, 480.
[176] The comparison of broadsides with traditional versions is
instructive. See I, A, a, b, c; 10, A, a; 45, B; 53, L, M; 73, D; 104,
B, 112, E (and II, 491); 110, A; 145, C; 151; 152; 153; 162, B; 167, B;
268. Much of the later Robin Hood poetry looks like “char-work done for
the petty press” (III, 42). _Robin Hood Rescuing Will Stutly_ (141) “is
a ballad made for print, with little of the traditional in the matter
and nothing in the style” (III, 185).
[177] II, 480.
[178] I, 335.
[179] “Jamieson was not always precise in the account he gave of the
changes he made in his texts” (IV, 255). Cf. also I, 138.
[180] Stanzas 20, 21, 27, etc. I, 119. Cf. II, 83.
[181] I, 297.
[182] II, 63 f.
[183] I, 335.
[184] II, 302.
[185] I, 112.
[186] IV, 5.
[187] I, 138.
[188] III, 472.
[189] II, 428.
[190] IV, 39. Cf. II, 317.
[191] II, 226.
[192] III, 276.
[193] V, 2.
[194] II, 19.
[195] III, 96.
[196] IV, 156.
[197] IV, 178.
[198] V, 309.
[199] III, 42.
[200] III, 103.
[201] III, 159.
[202] I, 320.
[203] III, 206.
[204] V, 168.
[205] III, 305.
[206] I, 455.
[207] V, 1.
[208] IV, 437.
[209] I, 335.
[210] II, 302.
[211] III, 486.
[212] V, 12. Cf. also I, 35, IV, 10, 142, 401, for passages condemned
as “modern.”
[213] III, 140.
[214] II, 342.
[215] V, 182.
[216] Communicated by the Rev. Mr Lamb to Hutchinson “with this
harmless preamble: ‘a song 500 years old, made by the old Mountain
Bard, Duncan Frasier, living on Cheviot, A. D. 1270.’”
[217] I, 308.
[218] III, 42.
[219] I, 46; examples follow.
[220] II, 170, n.
[221] I, 336.
[222] I, 337.
[223] V, 59.
[224] V, 48.
[225] II, 7.
[226] II, 416.
[227] I, 142.
[228] Examples, I, 143.
[229] I, 1.
[230] II, 478.
[231] III, 159.
[232] III, 235.
[233] I, 121.
[234] II, 19.
[235] III, 366.
[236] IV, 51.
[237] III, 317.
[238] III, 304.
[239] III, 417.
[240] III, 410.
[241] IV, 359.
[242] III, 265 f.
[243] I, 320.
[244] I, 193.
[245] II, 67.
[246] I, 67.
[247] III,
[248] IV, 401.
[249] V, 182.
[250] III, 49 f.
[251] III, 51.
[252] III, 293.
[253] III, 220.
[254] V, 166.
[255] IV, 391.
[256] IV, 393.
[257] IV, 401.
[258] IV, 415.
[259] IV, 423.
[260] IV, 434.
[261] III, 49.
[262] III, 40.
[263] IV, 10.
[264] Cf. III, 225.
[265] III, 381.
[266] III, 165.
[267] III, 197.
[268] II, 296.
[269] IV, 161.
[270] I, 253. Cf. also III, 258.
[271] II, 263.
[272] III, 381.
[273] II, 83.
[274] I, 34.
[275] II, 302.
[276] V, 156 f.
[277] _Universal Cyclopædia_, “Ballad Poetry.” The lyrical element is
of equal importance; see p. 790, below.
[278] IV, 126.
[279] V, 165.
[280] IV, 192. [The Broom of Cowdenknows (217)].
[281] IV, 63. [The Gypsie Laddie (200)].
[282] I, 82.
[283] II, 260.
[284] Surely better _as ballad_. Cf. p. 796, below.
[285] II, 18.
[286] II, 7.
[287] V, 178.
[288] IV, 435.
[289] IV, 145.
[290] III, 317.
[291] II, 373.
[292] II, 342.
[293] II, 355.
[294] II, 302.
[295] III, 51.
[296] III, 486.
[297] III, 95.
[298] IV, 362.
[299] II, 378.
[300] V, 59.
[301] IV, 301, n.
[302] IV, 301, n.
[303] IV, 434.
[304] I, 320, n.
[305] IV, 186.
[306] I, 167.
[307] I, 88.
[308] I, 112
[309] [The true ballad has little to say of mental states.]
[310] IV, 5. The stanza reads:
But he’s taen aff his gude steel cap, And thrice he’s waved it in
the air; The Dinlay snaw was neer mair white Nor the lyart locks of
Harden’s hair.
[311] IV, 10.
[312] II, 430.
[313] II, 428.
[314] IV, 145.
[315] I, 297.
[316] Cf. II, 83, 317; IV, 39.
[317] See the _Index of Matters and Literature_, V, 474 f.
[318] II, 309, n.
[319] III, 96.
[320] IV, 426.
[321] IV, 391.
[322] IV, 435.
[323] II, 227.
[324] II, 238.
[325] V, 59.
[326] IV, 145.
[327] V, 168.
[328] I, 329.
[329] IV, 301.
[330] I, 253.
[331] III, 53.
[332] III, 258.
[333] II, 296.
[334] V, 59.
[335] III, 305.
[336] II, 67.
[337] II, 260.
[338] I, 358.
[339] III, 129.
[340] V, 201.
[341] IV, 75.
[342] II, 204, n.
[343] I, 7. See the foot-note for Professor Child’s longest discussion
of the burden.
[344] _Sheath and Knife_ (16), also, was accessible but omitted.
[345] _Ballads_, I, xi, n. “Certain short romances which formerly stood
in the First Book, have been dropped from this second Edition [1860],
in order to give the collection a homogeneous character.” _Ballads_
[1860], I, xii.
[346] “A song,” II, 317. (Where merely volume and page are given the
reference is still to the later collection; references to the earlier
are preceded by the word _Ballads_.)
[347] II, 16.
[348] II, 429.
[349] V, 34, n.
[350] _Ballads_, III, 360.
[351] _Ballads_, VI, 263.
[352] _Ballads_, III, 61.
[353] IV, 142.
[354] _Ballads_, I, 341.
[355] I, 218, n.
[356] _Ballads_, III, 293.
[357] _Ballads_, VI, 220. Cf. Mr Andrew Lang’s plea for _Auld
Maitland_, _Folk-Lore_, XIII, 191 ff.
[358] See also the comments on the Rev. Mr Lamb’s _Laidley Worm of
Spindleston Heugh_, _Ballads_, I, 386, and cf. p. 772, above.
[359] _Ballads_, III, 128.
[360] _Ballads_, IV, 161.
[361] _Ballads_, IV, 143 f.
[362] Cf. p. 757, above.
[363] _Ballads_, V, iv.
[364] _Ballads_, III, 148-149.
[365] Cf. p. 767, above.
[366] _Ballads_, III, 225.
[367] I, 88.
[368] _Ballads_, III, 173.
[369] II, 56.
[370] _Ballads_, II, 30.
[371] II, 275.
[372] _Ballads_, I, ix, n.
[373] Cf. p. 762, above.
[374] _Ballads_, I, 306 n.
[375] _Ballads_, II, 220.
[376] _Ballads_, I, 270.
[377] See I, 62, and, for the omitted couplets, I, 80-81.
[378] _Ballads_, I, 265.
[379] _Ballads_, II, 22.
[380] II, 260. See, also, the comments on Jamieson’s _Child Rowland
and Burd Ellen_, _Ballads_, I, 416, and _English and Scottish Popular
Ballads_, V, 201, n.
[381] Cf. p. 769, above.
[382] _Ballads_, I, 256.
[383] _Ballads_, II, 115.
[384] _Ballads_, II, 64.
[385] _Ballads_, II, 45.
[386] _Ballads_, VII, 194.
[387] Cf. the comment on _The Hunting of the Cheviot_, _Ballads_, VII,
25.
[388] _Ballads_, IV, 17. For the later comment, see p. 777, above.
[389] _Ballads_, VI, 22.
[390] _Ballads_, III, 148-149.
[391] “Excepting the two satirical stanzas with which Scott’s version
(C) concludes.”
[392] See also the comment in the _Ballads_, quoted p. 804, below.
[393] The numbers in brackets are those affixed to the ballads in the
later collection.
Transcriber's Notes:
A number of typographical errors were corrected silently.
Cover image is in the public domain.
Page number jump in Appendix was in the original.
Under “Kinloch MSS, I, 319.” there is a skip from verse 4 to 7 that was
in the original.
Footnote 247 was missing the page number in the original.
Table of Contents modified to have two lines for Additions and
Corrections.
Index for "Morte Darthur, Malory" corrected to page 298 from
non-existent 982.
Character shown as ι̮ is an imprecise representation of the original.
Music is available in the HTML version where flagged as [Music].
*** End of this LibraryBlog Digital Book "English and Scottish Popular Ballads, Volume 5 (of 5)" ***
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